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Record: 1- Title:
- Part 1 Works By Dorothy Livesay; Books; Books edited
- Other Title:
- Part 1 Works By Dorothy Livesay; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
p. 137-138 (2 p.) - Links:
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- Database:
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Books; Books edited
Ricketts, Alan (compiler)
A26 Collected Poems of Raymond Knister. Foreword Raymond Knister. Toronto: Ryerson, 1949. xli, 45 pp. With a memoir by Dorothy Livesay. (See B377.)
A27 and Seymour Mayne. 40 Women Poets of Canada. Montreal: Ingluvin, 1971. 141 pp.
A28 Woman's Eye: 12 B.C. Poets. Foreword Dorothy Livesay. Vancouver: Air, 1978. xi, 101 pp.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002001006
Record: 2- Title:
- Part 1 Works By Dorothy Livesay; Books; Broadsides
- Other Title:
- Part 1 Works By Dorothy Livesay; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
p. 136 (1 p.) - Links:
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Books; Broadsides
Ricketts, Alan (compiler)
A18 Post-Operative Instructions. Kingston: Quarry, 1968.
A19 Collared. Dreadnaught 52 Pickup, No. 29. Toronto: Dreadnaught [1977?]. See A16 ("Collared").
A20 Winter Ascending. Caledoma Writing Series. Prince George, B.C.: Caledonia [1977?]. See A15 (revised -- "Winter Ascendant").
A21 The Phases of Love: Adolescence, 1925-1928. Toronto: League of Canadian Poets, 1980. Includes "Analysis," "Confession," "The Game," "Interim," "May 11, 1927," "1925 or 26," "Primitive," and "Unkind Haiku."
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002001002
Record: 3- Title:
- Part 1 Works By Dorothy Livesay; Books; Criticism
- Other Title:
- Part 1 Works By Dorothy Livesay; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
p. 137 (1 p.) - Links:
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Books; Criticism
Ricketts, Alan (compiler)
A24 "Symbolism and the Metaphysical Tradition in Modern English Poetry." Diplome d'Etudes Superieures Thesis Sorbonne 1932.
A25 "Rhythm and Sound m Contemporary Canadian Poetry." M. Ed. Thesis British Columbia 1966.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002001005
Record: 4- Title:
- Part 1 Works By Dorothy Livesay; Books; Editorial work
- Other Title:
- Part 1 Works By Dorothy Livesay; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
p. 142 (1 p.) - Links:
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Books; Editorial work
Ricketts, Alan (compiler)
A34 New Frontier. Regional editor, April 1936-Oct. 1937.
A35 Northern Review. Regional editor, Dec. 1945-Summer 1947.
A36 White Pelican. Guest editor, Fall 1974, Special Issue on the Canadian North. Also listed as Editor for i, No. I (Winter 1971), 2, No. 1 (Winter 1972), and 2, No. 3 (Summer 1972).
A37 CV/II. Editor, Summer 1975-Autumn 1977.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002001008
Record: 5- Title:
- Part 1 Works By Dorothy Livesay; Books; Manuscripts
- Other Title:
- Part 1 Works By Dorothy Livesay; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
p. 138-142 (5 p.) - Links:
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Books; Manuscripts
Ricketts, Alan (compiler)
A29 Elizabeth Dafoe Library, Special Collections, University of Manitoba, Winnipeg, Manitoba
The manuscript collection, consisting of 39 boxes, includes articles, fiction, radio plays, correspondence, and other miscellaneous works. A short list of the contents of each box follows:
Box 1: Recent correspondence. 36 folders.
Box 2: Recent correspondence and miscellaneous business. 17 folders.
Box 3: Basic materials from the 1930s used in Right Hand Left Hand. 53 folders.
Box 4: Professional correspondence (by subject: A-C). 22 folders.
Box 5: Correspondence with organizations, publishers, and journals, 1960s and 1970s (by subject: C-K). 44 folders.
Box 6: Literary correspondence (L-M). 24 folders.
Box 7: Literary correspondence (by subject: M-W). 38 folders.
Box 8: Personal and literary correspondence with poets (A-M). 43 folders.
Box 9: Personal and literary correspondence with poets (N-W). 27 folders.
Box 10: Earlier papers of Dorothy Livesay: family letters, early writings, etc. 12 folders plus index cards.
Box 11: Research notes on the life and works of Isabella Valancy Crawford. Part I. 25 folders.
Box 12: Research notes on the life and works of Isabella Valancy Crawford. Part II. 11 folders.
Box 13: Miscellaneous correspondence, clippings. 17 folders.
Box 14: Miscellaneous. 23 folders.
Box 15: Personal letters, 1960s and 1970s. 8 folders.
Box 16: Personal correspondence. 4 sections.
Box 17: Correspondence. 4 expanding files.
Box 18: Reviews and articles. 45 folders.
Box 19: Articles on and by Livesay, 25 folders.
Box 20: Articles and prose by Livesay. 32 folders.
Box 21: Miscellaneous. 21 folders.
Box 22: Prose (A-J). 71 folders.
Box 23 : Prose (j-w). 53 folders.
Box 24: Articles and correspondence, late 1960s and early 1970s. 25 folders.
Box 25: Clippings, articles, 28 folders.
Box 26: Miscellaneous. 9 folders.
Box 27: Personal and literary correspondence, 29 folders.
Box 28: Correspondence. 27 folders.
Box 29: Correspondence and fiction drafts. 33 folders.
Box 30: Published poetry, correspondence. 39 folders.
Box 31: Private correspondence, 28 folders.
Box 32: Correspondence, 1920s-1940s. 22 folders.
Box 33: Family correspondence. 7 folders.
Box 34: Published and unpublished poetry. 35 folders.
Box 35 : Published and unpublished poetry. 13 folders.
Box 36: Published and unpublished poetry.
Box 37: CV/II correspondence.
Box 38: Professional materials, correspondence (A-W). 51 folders.
Box 39: Louisa Loeb Ph.D. dissertation on Florence Randal Livesay.
Box 39, part 2. Tapes: 1.01 1964:Crawley family and Dorothy Livesaya social afternoon. Livesay reads "Call My People Home." 1.02 1965: Alan Crawley and Livesay discuss recent Canadian literature. 2.01 1966: Excerpts of conversation between Alan Crawley and Livesay. 2.02 1967: Alan Crawley on poetry in music, and in conversation with Livesay. 2.03 1968: 30 Nov. CBC program on Alan Crawley. 3.0l 1968: Donald Cameron interview with Livesay.
A30 Special Collections, Cameron Library, University of Alberta, Edmonton, Alberta
The 36 folders of poetry manuscripts and typescripts and two exercise books dating from the 1926-32 period have been indexed by library personnel on individual cards ordered chronologically. In most cases, publication information, including appearance in book, periodical, and anthology formats, has been indicated on the cards. The folders are housed in seven boxes.
Note: Photocopies have been exchanged between Queen's University and the University of Alberta, so that each repository has a copy of the other's holdings. (See A31.)
Box 1: Manuscript poetry notebook, "A Book of Rhymes, Rhythms, and Riots," 1926-27 (136 pp.). Volume Two: Oct. 1927-Dec. 1931 (240 pp.). Five folders containing correspondence with Ryerson Press, 1928-68.
Box 2: Seven folders containing poetry typescripts and originals, 1924-30.
Box 3: Eight folders containing poetry typescripts and originals, 1931-47.
Box 4: Ten folders containing poetry typescripts and originals, 1948-64.
Box 5: Four folders containing poetry typescripts and originals, 1965-68.
Box 6: Seven folders containing poetry typescripts and originals, 1969-74.
Box 7: Printer's copies (typescripts): Selected Poems, Signature (first version of Selected Poems), Day and Night, The Documentaries, and The Unquiet Bed.
A31 Douglas Library, Archives, Queen's University, Kingston, Ontario
The correspondence has been indexed by Queen's into 104 folders, most of which are identified by writer or publication. However, there is also a series of omnibus folders noted as "business" or "personal" correspondence. To provide a finer index, and to note a series of letters from one author -- which occasionally are found in four distinct files -- a multiple entry series of approximately 1,000 cards was created. A list of these cards is available from the library.
The papers have been kept in substantially the same files that they were in originally. Dating of letters and notations by the archivists are indicated by square brackets. The papers consist of 25 inches of correspondence files, broken into 4 series. Within the first 3 series the correspondence is arranged chronologically, and m the final series, chronologically by author. Series II contains general correspondence of a literary nature. Because of its bulk and close ties with the Alan Crawley papers, material related to Alan Crawley has been separated into Series III. Series III contains some original letters from Livesay to Crawley.
The papers are arranged as follows:
Series I: Business Correspondence, 1932-70. Section A: General
Section B: Publishing Body
Series II: General Personal Correspondence, 1927-70.
Series III: Material Related to Alan Crawley, 1938-70.
Series IV: Correspondence from Livesay to various authors and publishers, listed by author, 1933-70. Five boxes, approximately 1,320 letters, 50 correspondents.
A32 Special Collections, Simon Fraser University, Burnaby, British Columbia
The Special Collections department of the library holds 15 tapes:
Tape 1: Hoar, Victor. Personal interview with Livesay. Toronto, 24 May 1968.
Tape 2: Hoar, Victor. Personal interview with "Jim" Watts Lawson.
Tape 3: Livesay, Dorothy. Poetry Reading. Anthology, CBC Radio, 1 June 1967.
Tape 4: Livesay speaking on narrative tradition and the documentary poem, Univ. of Victoria, March 1972.
Tape 5: Livesay, Dorothy. "The Victoria Writer." CBC Radio, Feb. 1972.
Tape 6: Livesay speaking with Kildare Dobbs (c. 1973).
Tape 7: Livesay reading and discussing her work (late 1960s).
Tape 8: Tonga, Bemba, Nguma, Nyanga songs, with native introductions [c. 1962].].
Tape 9: Cockburn, Robert. Personal interview with Dorothy Livesay.
Tape 10: West Indian, black spirituals; Chalimbana Teachers College classes (c. 1962).
Tape 11: Archer, Violet. College of Music, University of Alberta. Responsible for setting Livesay's poems to music.
Tape 12: Canadian Poets on Tape. Toronto: Ontario Institute for Studies in Education, 1970. (30 min.)
Tape 13: Canadian Poets on Tape. Scarborough: Van Nostrand Reinhold, 1972.
Tape 14: Livesay, Dorothy. Poetry Reading. CHUM Radio [Toronto], 30 April 1967.
Tape 15: Livesay, Dorothy. Poetry Reading. CKUA Radio [Edmonton], n.d.
A33 Manuscript Collection, Humanities Research Center, University of Texas, Austin, Texas
The collection contains a letter from Dorothy Livesay to Edith Sitwell, 21 Feb. 1953; and a radio script with one correction by Sitwell (1953).
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002001007
Record: 6- Title:
- Part 1 Works By Dorothy Livesay; Books; Mixed genre collection
- Other Title:
- Part 1 Works By Dorothy Livesay; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
p. 137 (1 p.) - Links:
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Books; Mixed genre collection
Ricketts, Alan (compiler)
A23 Right Hand Left Hand. Ed. David Arnason and Kim Todd. Erin, Ont.: Porcepic, 1977. 280 pp. Includes the following articles: "The Beer Workers," "Blairmore," "Canadian Poetry and the Spanish Civil War" (B411), "Corbin" (B464), "Decadence in Modern Bourgeois Poetry," "Fascism in Quebec," "Indians at Caughnawaugha," "Proletarianitis in Canada," "Raymond Knister: A Memoir," and "They Shall Inherit the Earth, a Review." Includes the following plays: "Struggle" and "The Times Were Different." Includes the following poems: "At English Bay: December, 1937" (B70), "Canada to the Soviet Union" (B53), "Catalonia" (B217), "Comrade" (A13), "Day and Night" (B54), "Depression Suite [i. If there are prayers...] [A13], [ii. I can be a vagabond...] [A13], [iii. I sit and hammer melodies...] [A13], [iv. You have no heart ...] [A13], [v. The boss was a friend of mind ...] [A13], [vi The man you knew in Galilee...]" (A13), "Dominion Day at Regina" (A13), "Doves" (A13), "from Seven Poems [iv: On a night like this ...] [A3], [vi: The child looks out ...]" (B78), "from West Coast: Finale" (B91), "Growing Up" (A7), "An Immigrant" (A13), "The Lizard: October, 1939" (A13), "Lorca" (B76), "New Jersey," "Old Trees at Pere la Chaise," "The Outrider" (B89), "Pink Ballad" (B50), "Rain in April," "Twenty Years After," and "Words before Battle" (A13). Includes the following stories: "Case Supervisor" (B339), "A Cup of Coffee" (B341), "Herbie," "Out West," "Six Years," "Two Women," and "Zynchuk's Funeral."
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002001004
Record: 7- Title:
- Part 1 Works By Dorothy Livesay; Books; Poetry
- Other Title:
- Part 1 Works By Dorothy Livesay; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Books; Poetry
Ricketts, Alan (compiler)
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A1 Green Pitcher. Toronto: Macmillan, 1928. 16 pp. Includes "Autumn," "A Boy in Bronze," "Caution," "Chinese," "A Country Mouse in Town" (B13), "Defiance," "Emergence," "Enigmas," "Explanation," "Fire and Reason," "Fireweed" (B2), "The Forsaken," "Impuissance" (B11), "The Invincible," "The Lake," "Phantasy in May," "Reality," "Secret" (B16), "Shower" (B3), "Song from a Sequence," "Song of a Runner," "Such Silence" (B14), "Sympathy," "Widow-Woman," and "'Wraith."
A2 Signpost. Toronto: Macmillan, 1932. 61 pp. Includes "Alienation" (B30), "'Ask of the Winds,'" "Assertion," "Blindness," "Chained," "City Night," "City Wife" (B24), "Climax," "A Confidence," "Consideration," "Daedelus," "The Difference" (B41), "Dust," "Fable," "Farewell," "Going to Sleep," "Green Rain" (B40), " 'Haunted House' " (B44), "If Looking Were Saying," "Interrogation," "In the Street" (B31), "In the Wood" (B38), "The Intimates," "I Saw My Thought," "Journey" (B32), "Monition," "Neighbourhood," "Old Man," "Perversity, .... Prince Edward Island," "Protest," "Sea-Flowers" (B34), "September Mornrag," "Song for Departure" (B29), "A Song for Ophelia," "Song for Solomon" (B42), "Sonnet for Ontario," "Staccato" (B27), "Sun," "Testament" (B22), "Threshold," "Time" (B35), "The Unbeliever" (B43), "Vandal," "Weapons," and "Wildernesstone."
A3 Day and Night. Boston: Bruce Humphries, 1944. 48 pp.
Toronto: Ryerson, 1944. 48 pp. Includes "Day and Night" (B54), "Fantasia," "Five Poems [1. In the dream was no kiss...] [B83], [ii. Your face is new...] [B83], [iii. Early I lifted the oars of day ...] [B83], [iv. Night's soft armour welds me into thought ...] [B83], [v. Your words beat out in space ...]" (B83), "Lorca" (B76), "The Outrider" (B89), "Prelude for Spring" (B82), "Serenade for Strings" (B84), "Seven Poems [i. A shell burst in my mind...], [ii. From the husk of the old world ...], [iii. Out of the turmoil mustered by day ...], [iv. On a night like this ...], [v. The fallow mind in winter ...] [B61], [vi. The child looks out ...] [B78], [vii. And life goes on. And here ...]" (B79), and "West Coast: Prelude [B91], The Outsider [B91], Shipyard Voices [B91], Finale" (B91).
A4 Poems for People. Toronto: Ryerson, 1947. 40 pp. Includes "Abracadabra" (B105), "Autumn in Wales" (B109), "Carnival" (B102), "Contact," "Evensong" (B106), "F D R" (B100), "Improvisation on an Old Theme," "Inheritance" (B96), "The Inheritors" (B104), "Letter from Canada" (B98), "London Revisited (1946)" (B108), "Lullaby" (B113), "Matins" (B114), "The Mother," "Of Mourners" (B94), "Okanagan Pictures" (B107), "Page One" (B111), "Pheasant," "Point Counterpoint" (B92), "Preludium" (B88), "Railway Station" (B99), "Small Fry" (B103), "Sonnets for a Soldier [You went, wordless; but I had not the will ...] [B90], [No hands to touch, whom distance separates ...]" (B90), and "V-J Day" (B112).
A5 Call My People Home. Ryerson Poetry Chapbooks, No. 143. Toronto: Ryerson, 1950. 24 pp. Includes "Call My People Home" (B122), "December," "Departure in November" (B129), "Indian Graveyard," "Interval with Fire" (B124), "'Invisible Sun'" (B125), "Marcia," "Tale" (B123), and "Variations on a Tree" (B120).
A6 New Poems. Ed. Jay Macpherson. Toronto: Emblem, 1955. 15 pp. Includes "After Hiroshima" (B139), "Bartok and the Geranium" (B133), "The Dark Runner," "Generanon," "Genii," "Nocturne" (B77), "On Seeing," "Other," "This Arrow," and "Winter Song" (B134).
A7 Selected Poems of Dorothy Livesay [1926-1956]. Introd. Desmond Pacey. Toronto: Ryerson, 1957. xxii, 82 pp. Includes "Abracadabra" (B105), "Alienation" (B30), "Annunciation" (B83), "At Sechelt," "Autumn" (A1), "Bartok and the Geranium" (B133), "Blindness" (A2), "Carnival" (B102), "Chant," "The Child Looks Out" (B78), "Climax" (A2), "Day and Night" (B54), "The Difference" (B41), "Epilogue," "Fantasia" (A3), "Fantasy in May" (A1), "Farewell" (A2), "Fire and Reason" (A1), "From the Husk," "Generation" (A6), "Genii" (A6), "Going to Sleep" (A2), "Green Ram" (B40), "Growing Up," "Hymn to Man" (B131), "Inheritance" (B96), "Interval with Fire" (B124), "In Time of War [I. You went, wordless; but I had not the will ...] [B90], [II. You knew the secret wood. Absorbed ...] [B90 and B98], [III. Confused, embedded, over-turbulent world ...] [B90 and B99], [IV. It seemed a poor thing to do, to wed, when the Japs ...]" (B90), "I Saw My Thought" (A2), "Lament" (B137), "London Revisited" (B108), "Lorca" (B76), "Nativity" (B84), "Nocturne" (B77), "Of Mourners" (B94), "Of Neighbours," "On Looking into Henry Moore" (B141), "On Seeing" (A6), "Other" (A6), "Out of the Turmoil," "Page One" (B111), "Perversity" (A2), "Prelude for Spring" (B82), "Protest" (A2), "Reality" (A1), "Sea-Flowers" (B34), "A Shell Burst" (A3), "Signature," "The Skin of Time," "Song," "Song for Solomon" (B42), "Song to Myself," "Sonnet for Ontario" (A2), "Such Silence" (B14), "Time" (B35), "The Traveller" (B 136), "Variations on a Tree" (B120), "Weapons" (A2), "Wedlock," "What Cloud," and "Winter" (B68).
A8 The Colour of God's Face. Vancouver: Unitarian Service Committee, 1964. N. pag. Includes "Funeral," "The Land," "The Leader," "The People," "The Prophetess" (B157), "Village" (B158), and "Wedding."
A9 The Unquiet Bed. Toronto: Ryerson, 1967. 65 pp. Includes "And Give Us Our Trespasses" (B166), "Ballad of Me" (B159), "A Book of Charms," "The Dream," "The Emperor's Circus" (B154), "Empress" (B180), "Eve" (B171), "Flower Music," "For Abe Klein: Poet" (B165), "For Gwendolyn," "Four Songs [i. People will say...], [ii. It is the fire you love ...], [iii. And yet you knew ...], [iv. I drink now...]," "The Incendiary," "Initiation," "Isolate," "A Letter," "Making the Poem" (B164), "Moving Out" (B174), "The Notations of Love," "Old Song," "Pear Tree," "Perceptions," "Poet and Critic," "Postscript" (B47), "Process," "The Rat" (B175), "Roots," "Second Coming," "Soccer Game" (B176), "Spring," "Sunfast" (B169), "The Taming," "To a Younger Poet" (B144), "The Touching," "The Unquiet Bed," "The Vigil," "Without Benefit of Tape" (B163), "Woman Waylaid" (B177), and "Zambia: Invitation, Village [B158], Wedding [A8], Funeral [A8], The Leader [A8], The Prophetess" (B157). The poem entitled "Zambia" is a revised version of A8.
A10 The Documentaries. Foreword Dorothy Livesay. Toronto: Ryerson, 1968. 1, 56 pp. Includes "Call My People Home" (B122), "Day and Night" (B54), "Ontario Story (An Old Woman Remembers)," "The Outrider" (B89), and "Roots (A9)."
A11 Plainsongs. Fredericton: Fiddlehead Poetry Books, 1969. 32 pp. Includes "Another Journey" (B189), "At Dawn," "Auguries," "Birdwatching," "The Cave" (B188), "Centennial People" (B181), "Con Sequences," "De-Evolution" (B192), "Dream," "Edmonton at Night," "The Journey East," "The Metal and the Flower'" (B184), "Objets Trouves," "The Operation" (B200), "Patterns," "Random Pictures" (B186), "The Sculptors" (B183), "The Sign," "Sorcery" (B241), "The Uninvited," "Waking in the Dark" (B185), and "The Woman" (B204).
Fredericton: Fiddlehead Poetry Books, 1971. 48 pp. Includes "Another Journey" (B189), "April," "The Artefacts: West Country" (B215), "At Dawn," "Auguries," "Birdwatching," "Canadiana," "The Cave" (B188), "The Children's Letters," "Con Sequences," "De-Evolution" (B192), "Dream," "Easter Saturday," "The Eaters," "Edmonton Suite," "The Halloweens," "Heritage," "House amongst Trees," "Latter Day Eve" (B220), "Look to the End" (B221), "The Operation" (B200), "Rowan Red Rowan" (B210), "Seashelter," "The Snow Girl's Ballad," "Sorcery" (B241), "The Uninvited," "Waking in the Dark" (B185), "Weather Forecast" (B225), "Where I Usually Sit," and "The Woman" (B204).
A12 Disasters of the Sun. Blackfish Broadsides Folios, No. 3. Burnaby, B.C.: Blackfish, 1971. 8 leaves. Includes "Disasters of the Sun."
A13 Collected Poems: The Two Seasons. Foreword Dorothy Livesay. Toronto: McGraw-Hill Ryerson, 1972. ii, 368 pp. Includes "Abracadabra" (B105), "The Absences." (B1), "After Grief," "After Hiroshima" (B139), "Again the fever," "Alienation" (B30), "Amazement!", "And Even Now," "And Give Us Our Trespasses" (B166), "Another Journey" (B189), "April" (A11), "The Artefacts: West Coast" (B215), "'Ask of the Winds'" (A2), "Assertion" (A2), "At Dawn" (A11), "At English Bay: December, 1937" (B70), "At Sechelt" (A7), "Auguries" (A11), "August (i)," "August (ii)," "Autumn" (A1), "Autumn in Wales" (B109), "Autumn: 1939," "Ballad of Me" (B159), "A Ballet of Squares: 1. Trafalgar [B152], 2. November Eleven [B152], 3. Fitzroy [B152], 4. Guston Square: Quaker Meeting [B152], 5. Russell Square: Winter [B152], 6. Mothering Sunday" (B152), "Bartok and the Geranium" (B133), "Birdwatching" (A11), "Blindness" (A2), "Board Meeting: 1938," "A Book of Charms" (A9), "Call My People Home" (B122), "Canadiana" (A11), "Carnival" (B102), "Catalonia" (B217), "The Cave" (B188), "Caw," "Chained" (A2), "Chant" (A7), "Children's Camp," "The Children's Letters" (A11), "Chinese" (A1), "City Wife" (B24), "Climax" (A2), "Collage," "Comrade," "Con Sequences" (A11), "Consideration" (A2), "A Conversation," "Daedulus" (A2), "The Dark Runner" (A6), "Dark ways we led each other," "Day and Night" (B54), "Deep Cove: Vancouver" (B59), "De-Evolution" (B192), "Defiance" (A1), "Depression Suite [i. If there are prayers ...], [ii. I can be a vagabond...], [iii. I sit and hammer melodies ...], [iv. You have no heart ...J, [v. The boss was a friend of mine...], [vi. The man you knew in Galilee ...], [vii. Even although the skimpy relief investigator...]," "The Difference" (B41), "Disasters of the Sun" (A12), "The Dismembered Poem" (B153), "Dominion Day at Regina," "The Door," "Doves dive up and down," "Dream" (A11), "A Dream," "The Dream" (A9), "Dust" (A2), "Easter" (B110), "Easter Saturday" (A11), "The Eaters" (A11), "The Emperor's Circus" (B154), "Empress" (B180), "Enigmas" (A1), "Epithalamium for Susan" (B132), "Eve" (B171), "Experience," "Explanation" (A1), "Fable" (A2), "Fantasia" (A3), "Fantasy in May" (A1), "Farewell" (A2), "Ferry Trip" (B115), "Fire and Reason" (A1), "Fireweed" (B2), "Five Poems [i. In the dream was no kiss ...] [B83], [ii. Your face is new ...] [B83], [iii. Early I lifted the oars of day ...] [B83], [iv. Night's soft armour welds me into thought ...] [B83], [v. Your words beat out in space ...]" (B83), "Flower Music" (A9), "For Abe Klein: Poet" (B165), "The Forsaken" (A1), "Four Songs [i. People will say...] [A9], [ii. It is the fire you love...] [A9], [iii. And yet you knew ...] [A9], [iv. I drink now ...]" (A9), "Generation: 1955" (A6), "Genii" (A6), "Godmother" (B85), "Going to Sleep" (A2), "The Great Divide," "Green Rain" (B40), "Growth" (B8), "The Gulls" (B33), "The Halloweens" (A11), "'Haunted House'" (B44), "Heritage" (A11), "Hermit," "Hola! the moon," "Houdini Eliot," "House amongst Trees" (A11), "The Husband," "Hymn to Man" (B131), "I Am Merry," "If I Awake," "If It Were Easy" (B36), "An Immigrant," "Improvisation on an Old Theme" (A4), "Impuissance" (B11), "The Incendiary" (A9), "Indian Summer," "I Never Hear," "I never knew much about silence," "In Green Solariums" (B51), "Inheritance" (B96), "Initiation" (A9), "Interrogation" (A2), "Interval with Fire" (B124), "In the Street" (B31), "In the Wood" (B38), "The Intimates" (A2), "In Time of War [1. You went, wordless; but I had not the will ...] [B90], [2. You knew the secret wood. Absorbed ...] [B90 and B98], [3. Confused, embedded, over-turbulent world ...] [B90 and B99], [4. It seemed a poor thing to do, to wed, when the Japanese ...]" (B90), "The Invincible" (A1), "Invisible Sun" (B125), "I Saw My Thought" (A2), "Isolate" (A9), "I Think I Have Not Learned," "It's true, philosophies," "Journey" (B32), "The Journey East" (A11), "The Lake" (A1), "Lament" (B137), "Latter Day Eve" (B220), "Let not our love grow mildewed," "A Letter" (A9), "Letter at Midnight" (B86), "The Lizard: October, 1939," "London Revisited: 1946" (B108), "Look to the End" (B221), "Lorca" (B76), "Love has come back now like a cloud," "Lullaby" (B113), "Making the Poem" (B164), "'Meet me at noon,'" "Moments," "Monition" (A2), "Montreal: 1933," "The Morning After," "The Mother" (A4), "Moving Out" (B174), "Neighbourhood" (A2), "The Net," "Nocturne" (B77), "Northern Loon," "The Notations of Love" (A9), "Now, I Am Free," "Of Mourners" (B94), "Of Neighbours" (A7), "Old Man" (A2), "Old Man Dozing," "Old Song" (A9), "Omens," "On Looking into Henry Moore" (B141), "On Seeing" (A6), "The Operation" (B200), "Other" (A6), "The Outrider" (B89), "Page One" (B111), "Pear Tree" (A9), "Perceptions" (A9), "Personalities," "Perversity" (A2), "Picasso, Sketching," "Pictures at an Exhibition ('United Nations')," "The Pied Piper of Edmonton," "Pioneer" (B23), "Poet and Critic" (A9), "Postscript" (B47), "Praise and Lament," "Prelude for Spring" (B82), "Preludium" (B88), "Prince Edward Island" (A2), "The Prisoner," "Process" (A9), " 'Queen City' " (B55), "The Rat" (B175), "Reality" (A1), "The Ring," "Roots" (A9), "Rowan Red Rowan" (B210), "Sea-Flowers" (B34), "Seasheher" (A11), "Second Coming" (A9), "The Second Language (Suite): Zambian Wedding, Before Independence (Zambia) [B160], Politics, The Second Language" (B213), "Secret" (B16), "September Morning" (A2), "Serenade for Strings" (B84), "Seven Poems [i. A shell burst in my mind ..] [A3], [ii. From the husk of the old world ...] [A3], [iii. Out of the turmoil mustered by day...] [A3], [iv. On a night like this ...] [A3], [v. The fallow mind in winter ...] [B61], [vi. The child looks out...] [B78], [vii. And life goes on. And here ...]" (B79), "Shape Me to Your Will," "Shower" (B3), "The Shrouding," "Signature" (A7), "Signpost," "The Skin of Time" (A7), "Small Fry" (B103), "The Snow Girl's Ballad" (A11), "Soccer Game" (B176), "Song for Departure" (B29), "Song for Solomon" (B42), "Song from The Multitude," "Sonnet for Ontario" (Aa), "Sorcery" (B241), "Spain" (B66), "Speak through Me," "Spring" (A9), "Staccato" (B27), "Such Silence" (B14), "Sun" (A2), "Sunfast" (B169), "Symbols," "Tale" (B123), "The Taming" (A9), "Testament" (B22), "These Things Are Patient out of Time," "This Arrow" (A6), "This day takes hold of me," "This Wisdom," "The Three Emily's" (B135), "Threshold" (A2), "Time" (B35), "The Touching" (A9), "The Traveller" (B136), "The Unbeliever" (B43), "The Uninvited" (A11), "The Unquiet Bed" (A9), "Vandal" (A2), "Variations on a Tree" (B120), "The Vigil" (A9), "The Voyage Out" (B156), "Waking in the Dark" (B185), "Weapons" (A2), "Weather Forecast" (B225), "Wedlock" (A7), "West Coast: 1943. Prelude [B91], The Outsider [B91], Shipyard Voices [B91], Finale" (B91), "Where I Usually Sit" (A11), "White Fingers," "Widow," "Widow-Woman" (A1), "Wilderness Stone" (A2), "Wine from Cyprus," "Winter Song" (B134), "Without Benefit of Tape" (B163), "The Woman" (B204), "Woman Waylaid" (B177), "Words before Battle," "Wraith" (A1), "Your Honesty," and "Zambia: Invitation [A9], Village [B158], Wedding [A8], Funeral [A8], The Leader [A8], The Prophetess" (B157). The poem entitled "Zambia" is a revised version of A8.
A14 Nine Poems of Farewell 1972-1973. Windsor: Black Moss, 1973. 16 pp. Includes "Aging" (B246), "Cassandra," "A Catechism," "Down Beat," "Grandmother" (B247), "The Magnet," "March 26 (for Jean Crawley)" (B231), "The Old Bawd," and "The Prisoner of Time (for an Old Man)."
A15 Ice Age. Erin, Ont.: Porcepic, 1975. 75 pp. Includes "Aging" (B246), "Blue Wind," "Breadline," "Breathing" (B242), "The Cabbage," "Canadian Saga," "Cassandra" (A14), "A Catechism" (A14), "Cloud Messages," "The Descent" (B234), "Evensong" (B106), "Five Months Young," "For Rent," "For the New Year" (B258), "Gathering Oysters," "Grandmother" (B247), "The Gun," "The High," "Ice Age," "Identities," "Interiors" (B255), "Last Letter" (B260), "Legends" (B252), "Madame Curie," "Manifesto" (B259), "Mathematics" (B244), "'Morning Rituals'" (B248), "News from Nootka" (B250), "Of Chains," "The Old Bawd" (A14), "Old Woman in the K Mart," "One Way Conversation," "The Other Side of the Wall," "Parenthood," "Perspectives," "Remembering Red Lane (died 1964)" (B235), "Return to a Birthplace" (B197), "Salute to Monty Python," "Schizoid" (B238), "The Stoned Woman" (B236), "Summer Landscape: Jasper" (B237), "Surfaces," "The Survivor" (B254), "Thumbing a Ride" (B253), "Time and Mrs. Macnair" (B233), "To Be Blind" (B232), "Unexpected Guests," "Unitas" (B261), "The Unquiet Dead (Aurora borealis)," "Walking in the Park," "Whitepiece," "Why We Are Here" (B245), "Widow" (B257), "Windows," and "Winter Ascendant" (A20).
A16 The Woman I Am: Best Loved Poems from One of Canada's Best Loved Poets. Erin, Ont.: Porcepic, 1977. 96 pp. Includes "Abracadabra" (B105), "After Grief" (A13), "Aging" (B246), "Les Anglais: Coming Out of Quebec (1974)," "Ballad of Me" (B159), "Ballad of the Battered Children," "Bartok and the Geranium" (B133), "Blue Wind" (A15), "Book Review," "Breathing" (B242), "Cabbage" (A15), "A Certain Dark," "Circumstantial Evidence," "Climax" (A2), "Collared" (A19), "Comrade" (A13), "Conversation Macabre," "The Descent" (B234), "The Difference" (B41), "Disasters of the Sun" (A12), "Dream" (A11), "Easter" (B110), "Epithalamium for Susan" (B132), "Eve" (B171), "Five Poems for Alan Crawley (1887-1975): Nocturne [B77], To Be Blind [B232], March 26 [B231], The Prisoner of Time, Every Woman You Loved" (B263), "For Rent" (A15), "For the New Year" (B258), "Grandmother" (B247), "Green Rain" (B40), "The High" (A15), "Ice Age" (A15), "Interiors" (B255), "Interrogation" (A2), "In Time of War [4. It seemed a poor thing to do, to wed, when the Japanese...]" (B90), "Lament" (B137), "Latter Day Eve" (B220), "Life Styles," "Look to the End" (B221), "Mathematics" (B244), "Morning Rituals" (B248), "The Mother" (A4), "News from Nootka" (B250), "One Way Conversation" (A15), "On Looking into Henry Moore" (B141), "Other" (A6), "Parenthood" (A15), "Postscript" (B47), "Reservations," "Return to a Birthplace" (B197), "Serenade for Strings" (B84), "The Snow Girl's Ballad" (A11), "Still Life," "The Takeover," "The Taming" (A9), "The Three Emily's" (B135), "Thumbing a Ride" (B253), "Time" (B35), "The Touching" (A9), "Town Topics," "The Uninvited" (A11), "Unitas" (B261), "The Unquiet Bed" (A9), "Variations on a Tree" (B120), "Who Are the Exiles," "Why We Are Here" (B245), "Widow" (B257), "Windows" (A15), and "Woman Waylaid" (B177).
A17 The Raw Edges: Voices from Our Time. Winnipeg: Turnstone, 1981. 31 pp.
A17a The Phases of Love. Toronto: Coach House, 1983. 112 pp. Includes I Adolescence: "Analysis," "Cinquain," "Confession," "In arresting love," "Inarticulate," "Interim," "The Lover," "Primitive," "Something is coming to be born,'" "A Tale," "Unwritten Letter," and "'Your cry -- was it your cry?'"; II Fire and Frost: "'All in a minute we,'" "Anaesthesia," "Aubade," "'Because we want each other,'" "'Do not interfere!'," "'The hard core of love,'" "'How did it happen,'" "I bless you most because," "I loved your mind," "I see you trying on an idea," "I sought to cut you from me -- ," "'I touched,'" "In my dream room," "In the still centre of this painting," "Let your hand play first," "Locked in your house," "Malaria, long sleeping in the blood," "The Male Muse," "'Mistakenly,'" "Now it is done" "Only before dawn," "The Quarrel," "The record of all our nights," "The Search for Wholes," "The severance, being willed," "Sorcery," "The Step Beyond," "Thinking you might phone," "This page my book," "Though you are a scarecrow," "'Twice, twice I let you go,'" "You are my mirror I," "You, who do not pick up your past,'" and "'When I got home'"; III Voices of Women: "Apocalypse," "Arbutus," "As We Grow Older" (B282), "Bus Trip" (B283), "Dawnings" (B308), "Friday's Child" (B305), from "The Enchanted Isle" (B279), "The House of Winter," "In Therapy: a Dialogue," "In Times Like These" (B285), "The Legacy," "Look, We Have Come Through!", "Mon Semblable, Mon Frere," "Mothering," "My Mother," "Nothing is Private" (B288), "On Seeing 'The Day of the Dolphin' " (B295), "The Origin of the Family," "Reversals" (B289), "The Secret Doctrine of Women," "SelfPortrait: The Androgyne" (B290), "The Sybi1," "Teachers" (B303), "The Tears of Women" (B291), and "The Twins."
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
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- Part 1 Works By Dorothy Livesay; Books
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- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Books; Short stories
Ricketts, Alan (compiler)
A22 A Winnipeg Childhood. Winnipeg: Peguis, 1973. 105 pp. Beginnings: A Winnipeg Childhood. Toronto: new, 1975. 105 pp. Includes "Anna" (B351), "Christmas," "The End of the War," "Father's Boy," "First Trials," "The Guardian Angel," "Matt" (B347), "Mrs. Spy," "The Other Side of the Street" (B352), "The Party," "Preludes" (B348), "The Sparrows" (B349), "The Two Willies" (B350), "The Uprooting," and "A Week in the Country."
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002001003
Record: 9- Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Journalism
- Other Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
p. 165-168 (4 p.) - Links:
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Journalism
Ricketts, Alan (compiler)
B461 "The Tenth Province: Cape Breton the Home of a Quaint and Distinctive Community." Saturday Night, 5 Nov. 1927, p. 5.
B462 "Modern and Medieval Seen in Arromanches-LesBarns." The Star Weekly [Toronto Daily Star], 9 Nov. 1929, p. 9.
B463 "French Women Consider Convenience Not Fashion." Toronto Daily Star, 16 Nov. 1929, p. 24.
B464 "Corbin -- A Company Town Fights for Its Life." New Frontier, 1, No. 3 (June 1936), 6-8. RHLH ("Corbin").
B465 "12 Hours by Air'-Slogan: Feels Lucky to Do It in 40." Toronto Daily Star, 20 Sept. 1946, p. 8.
B466 "Canned Meat, Fowl Soup Ideal Gifts for Britons." Toronto Daily Star, 27 Sept. 1946, p. 7.
B467 "A Housing Racket in Britain Is Exposed By Squatters." Toronto Daily Star, 28 Sept. 1946, pp. 1-2.
B468 "Londoners Queue 6 Abreast for Peep into New World." Toronto Daily Star, 30 Sept. 1946, p. 4.
B469 "Bombed Out, Many Britons' Have Real Home at Last.'" Toronto Daily Star, 5 Oct. 1946, p. 26.
B470 "U.K. Leisure-Time Activities Take on New Importance." Toronto Daily Star, 7 Oct. 1946, p. 5.
B471 "Sure Britain's 'New Towns' to End Class Distinctions." Toronto Daily Star, 9 Oct. 1946, p. 5.
B472 "Can't Have Babies Live as We Do -- U.K. Woman." Toronto Daily Star, 12 Oct. 1946, p. 19.
B473 "Englishman Stays Put, U.K. Brings Industries to Him." Toronto Daily Star, 16 Oct. 1946, p. 35.
B474 "Lacking Milk for Cereals Britons Eating Much Jam." Toronto Daily Star, 17 Oct. 1946, p. 4.
B475 "Labor Party Women Meet, Rap Bevin and Strachey." Toronto Daily Star, 19 Oct. 1946, p. 5.
B476 "'Horror Workhouse' Report Shocks U.K. Child Workers." Toronto Daily Star, 22 Oct. 1946, p. 11.
B477 "Coventry Plan for Future Envisages Big Model City." Toronto Daily Star, 25 Oct. 1946, p. 13.
B478 "Save on Bread to Get Corned Beef for Yule." Toronto Daily Star, 26 Oct. 1946, p. 19.
B479 "Not the Same Churchill: Not Much Fire, Little to Say." Toronto Daily Star, 28 Oct. 1946, p. 9.
B480 "'How Brown Is My Valley,' Wales Needs New Spring." Toronto Daily Star, 29 Oct. 1946, p. 3.
B481 "Pupils Unharmed by Blitz, Canadian Teachers Learn." Toronto Dally Star, 29 Oct. 1946, p. 5.
B482 "Toronto-Aided, Birmingham Day-Nurseries Thriving." Toronto Daily Star, 30 Oct. 1946, p. 30.
B483 "Birmingham Housing Plan to Wipe Out City's Slums." Toronto Daily Star, 31 Oct. 1946, p. 13.
B484 "London's Women Weary, Can See It m Every Face." Toronto Daily Star, 4 Nov. 1946, p. 3.
B485 "'Bring Back Beefsteak' May Swing French Vote." Toronto Daily Star, 9 Nov. 1946, pp. 1, 4.
B486 "French People Happy? No 'They Don't Give a Hoot.'" Toronto Daily Star, ix Nov. 1946, p. 13.
B487 "'Last Time I Saw Paris' Oh How Different Now." Toronto Daily Star, 13 Nov. 1946, p. 15.
B488 "Living on British Food, Germans Don't Know It." Toronto Daily Star, 16 Nov. 1946, p. 13.
B489 "Finds Many Germans Feel Atlantic Charter Broken." Toronto Daily Star, 17 Nov. 1946, p. 12.
B490 "France Again Ready to Contribute to the Arts." Toronto Daily Star, 18 Nov. 1946, p. 6.
B491 "No Chaos Like Chaos in Hopeless Germany." Toronto Daily Star, 18 Nov. 1946, p. 21
B492 "100,000 Essen Coal Miners Live in Heatless Cellars." Toronto Daily Star, 19 Nov. 1946, p. 7.
B493 "France Is Gay on Surface to Cover Blow Underneath." Toronto Daily Star, 20 Nov. 1946, p. 5.
B494 "Canadians 'Best Prepared' of All 44 Lands to Help." Toronto Daily Star, 21 Nov. 1946, p. 8.
B495 "Yugoslav Sees UNESCO Aim to Spread West's Ideology." Toronto Daily Star, 22 Nov. 1946, p. 4.
B496 "Canadian Students in Paris Find Food Poor, Rents High." Toronto Daily Star, 23 Nov. 1946, p. 36.
B497 "Germans Busy Foraging to Supplement Rations." Toronto Daily Star, 25 Nov. 1946, p. 6.
B498 "Finds Many Germans Feel Atlantic Charter Broken." Toronto Daily Star, 26 Nov. 1946, p. 5.
B499 "Cologne, City of War Ruin, Made Worse by Big Fire." Toronto Daily Star, 27 Nov. 1946, p. 10.
B500 "Air of Cruelty and Death Still Hangs over Germany." Toronto Daily Star, 28 Nov. 1946, p. 5.
B501 "Flaming Youth Is Unknown in Historic Old Provence." Toronto Daily Star, Dec. 1946, p. 9.
B502 "End of Meat Ration Here Seen Blow to Hungry U.K." Toronto Daily Star, 2 Dec. 1946, p. 4.
B503 "Every Municipality Will Benefit -- Victoria." Toronto Daily Star, 17 Dec. 1946, p. 3.
B504 "B.C. Asks Justice Ere 30 P.C. Rail Rate Rise." Toronto Daily Star, 18 Dec. 1946, p. 23.
B505 "English Rationing Pays Dividends in Bonnier and Taller Children." Saturday Night, 21 Dec. 1946, pp. 22-23.
B506 "Must Be No Two Classes of Citizens -- B.C. Group." Toronto Daily Star, 28 Jan. 1947, p. 19.
B507 "Ontario 'Pie in the Sky' Deluging Us, B.C. Says." Toronto Daily Star, 29 Jan. 1947, p. 17.
B508 "Snug Home among Pines for Veterans with Kiddies." Toronto Daily Star, 30 Jan. 1947, p. 17.
B509 "Canada's Japanese Problem." The Star Weekly [Toronto Daily Star], 29 March 1947, p. 4.
B510 "Taro Conquers the Cariboo." The Star Weekly [Toronto Daily Star], 19 April 1947, pp. 4, 12.
B511 "Writers Have Big Part in Making New World." Saturday Night, 26 April 1947, p. 17.
B512 "Ruhr Dismemberment Menace to World Peace." Saturday Night, 10 May 1947, p. 2.
B513 "Whither the 'Please Go Easy'?". The Star Weekly [Toronto Daily Star], 10 May 1947, p. 5.
B514 "Un chemin de fer qul ne conduit nulle part." La Patrie, 22 juin 1947, pp. 22, 24.
B515 "Smoke across the Border." The Star Weekly [Toronto Daily Star], 28 June 1947, p. 4.
B516 "Canada's East Indians." The Star Weekly [Toronto Daily Star], 12 July 1947, Sec. Second, pp. 7, 13.
B517 "Canada's Partly Opened Door." The Star Weekly [Toronto Daily Star], 2 Aug. 1947, p. 3.
B518 "Women Doing Pioneer Jobs in Peace River Northwest." Toronto Daily Star, 13 Aug. 1947, p. 35.
B519 "Rich Coal Beds Discovered Is Great Hope of 'The Hope.'" Toronto Daily Star, 15 Aug. 1947, p. 5.
B520 "Sees Shacks Vanishing, Boom in Store for Dawson Creek." Toronto Daily Star, 19 Aug. 1947, p. 4.
B521 "Air Taxis Banishing Woes of Nurses Trapped in Snow." Toronto Daily Star, 20 Aug. 1947, p. 19.
B522 "The Peace, It's Wonderful." The Star Weekly [Toronto Daily Star], 22 Nov. 1947, pp. 5, 11.
B523 "Frontier City -- New Style." The Star Weekly [Toronto Daily Star], 13 Dec. 1947, Sec. Second, p. 2.
B524 "Wealth from Forest Waste." The Star Weekly [Toronto Daily Star], 1948, Sec. Second, p. 4.
B525 "Who Will Develop the West?". The Star Weekly [Toronto Daily Star], 3 Jan. 1948, Sec. Second, p. 3.
B526 "Strange B.C. Serpent May Be Tropical Relic." The Star Weekly [Toronto Daily Star], 10 Jan. 1948, Sec. Second, p. 2.
B527 "Vancouver: Sleeping Giant." The Star Weekly [Toronto Daily Star], 31 Jan. 1948, p. 4.
B528 "Back to Sanity through Shock." The Star Weekly [Toronto Daily Star], 6 Mar. 1948, Sec. Second, p. 3.
B529 and Dorothy MacDonald. "Why B.C. Divorces Soar." The Star Weekly [Toronto Daily Star], 15 May 1948, p. 10.
B530 and Dorothy MacDonald. "Making Old Age Worth Living." The Star Weekly [Toronto Daily Star], 10 July 1948, p. 4.
B531 and Dorothy MacDonald. "Not to Punish, but to Change." The Star Weekly [Toronto Daily Star], 7 Aug. 1948, p. 8.
B532 "A Better Break for the Indian." The Star Weekly [Toronto Daily Star], 2 Oct. 1948, p. 2.
B533 "A Community Reborn." The Star Weekly [Toronto Daily Star], 5 March 1949, Sec. Second, p. 4.
B534 "Will B.C. Let Bygones Be Bygones for the Japanese Canadian?". The Star Weekly [Toronto Daily Star], 19 March 1949, Sec. Second, p. 14.
B535 "If Canada Becomes Abloom, Thank the Dutch." The Star Weekly [Toronto Daily Star], 26 March 1949, Sec. Second, p. 14.
B536 "Women in Public Life -- Do We Want Them?". Saturday Night, 19 July 1949, p. 17.
B537 "She Puts Human Skulls Together." The Star Weekly [Toronto Daily Star], 3 Sept. 1949, Sec. Second, p. 7.
B538 "Children from Many Lands Study to Become Canadian." The Vancouver Sun, 27 June 1953, p. 20.
B539 "Copperbelt: A Letter from Northern Rhodesia." The Canadian Forum, Feb. 1961, pp. 247-48.
B540 "Race Relations in Northern Rhodesia." The Canadian Forum, Oct. 1964, pp. 159-61.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002002008
Record: 10- Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Letters
- Other Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
p. 168-169 (2 p.) - Links:
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Letters
Ricketts, Alan (compiler)
B541 "An Open Letter to Sir Charles G.D. Roberts." Canadian Bookman, April-May 1939, p. 35.
B542 "Letter from London." The Canadian Forum, Dec. 1958, pp. 138-39.
B543 "Letter from London." The Canadian Forum, Feb. 1959, pp. 244-45.
B544 "Letter from London." The Canadian Forum, March 1959, pp. 268-69.
B545 "An Open Letter to Marsha Barber." Room of One's Own, 5, Nos. 1-2 (1979), 35-36.
B546 "Open Letter to Margaret Atwood." Galiano: n.p., 24 Nov. 1981, n. pag. [1 p.].
B547 Letter. The Globe and Mail, 28 Nov. 1981, p. 7.
B548 Letter. Writers News Manitoba, 3, No. 5 (Dec. 1981), n. pag.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002002009
Record: 11- Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Reviews
- Other Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
p. 164-165 (2 p.) - Links:
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Reviews
Ricketts, Alan (compiler)
B433 Rev. of The King's Wish, by T.G. Marquis. Canadian Bookman, Sept. 1924, p. 199.
B434 Rev. of Canadian Short Stones, ed. Raymond Knister. St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 44 (Christmas 1928), 30.
B435 Rev. of Devil Take the Hindmost, by Edmund Wilson. Masses, 1, No. 6 (Nov. 1932), n. pag. Signed: "D. L."
B436 Rev. of Ann Vickers, by Sinclair Lewis. Masses, 1, No. 8 (March-April 1933), n. pag.
B437 Rev. of When Sirens Blow, by R. Spier; and We Gather Strength, by Joseph Kalar, Edwin Rolfe, and S. Funaroff. Masses, 2, No. 12. (March-April 1934), 15-16.
B438 Rev. of Noah and the Waters, by C. Day Lewis. New Frontier, 2., No. I (May 1937), 27-28.
B439 "Recent Ryerson Chapbooks." Rev. of Hearing a Far Call, by M. Eugenie Perry; For This Freedom Too, by Mary Elizabeth Colman; Birds before Dawn, by Evelyn Eaton; and Salt Marsh, by Anne Marriott. Contemporary Verse, No. 8 (June 1943), pp. 13-14.
B440 Rev. of News of the Phoenix, by A.J.M. Smith. First Statement, 2., No. 6 (April 1944), 18-19.
B441 Rev. of Flight into Darkness, by Ralph Gustafson. Contemporary Verse, No. 14 (July 1945), p. 15.
B442 Rev. of The White Centre, by Patrick Anderson. Contemporary Verse, No. 20 (Spring 1947), pp. 15-17.
B443 Rev. of The Ill-Tempered Lover, by L. A. MacKay. Contemporary Verse, No. 24 (Spring 1948), pp. 212-2.
B444 Rev. of Of Time and the River, by James Wreford. Contemporary Verse, No. 34 (Spring 1951), pp. 21-24.
B445 Rev. of Indian Time [a periodical]. Northern Review, 4 (April-May 1951), 35-37.
B446 Rev. of Mazo de la Roche, by Robert Hambleton. The Globe and Mail, 3 Dec. 1966, p. 34.
B447 Rev. of Leaves of Winter, by J. Smith; and Symbolist Verse, by T. Malcolm. The Fiddlehead, No. 72. (Winter 1967), pp. 112-14.
B448 "Poets and Audiences." Rev. of The House, by Michael Collie; No Casual Trespass, by Padraig O Broin; and The Danish Portraits, by Heather Spears. Canadian Literature, No. 34 (Autumn 1967), pp. 84-86.
B449 "An Odd Poet Out." Rev. of As Is, by Raymond Souster. Canadian Literature, No. 36 (Spring 1968), pp. 81-82.
B450 Rev. of Phrases from Orpheus, by D.G. Jones. Quarry, 17, No. 4 (Summer 1968), 41-42.
B451 Rev. of The Owl behind the Door, by Stanley Cooperman; and Heaven Take My Hand, by David Weisstub. Quarry, 18, No. 3 (Spring 1969), 54-56.
B452 Rev. of The Collected Poems of Red Lane, by Red Lane. Far Point, No. 2 (Spring-Summer 1969), pp. 51-57.
B453 Rev. of Mind's I, by Jack Shadbolt. Canadian Literature, No. 60 (Spring 1974), pp. 114-16.
B454 "Two in One." Rev. of Jeremy's Dream, by Jams Rapaport; and The Fat Executioner, by Myra MacFarlane. CV/II, 1, No. 2 (Fall 1975), 37.
B455 "Transmigrations." Rev. of Unborn Things, by Patrick Lane. CV/II, 2, No. 1 (Jan. 1976), 6-7.
B456 "The Poet Who Came In from the Cold." Rev. of Indian Summer, by R. G. Everson. CV/II, 2, No. 4 (Dec. 1976), 17.
B457 "Gazing into the Clouds of Whimsy." Rev. of The Price of Gold, by Miriam Waddington. CV/II, 3, No. 1 (Spring 1977), 15.
B458 "Tip of an Iceberg." Rev. of New Provinces: Poems of Several Authors, ed. F. R. Scott, A. J. M. Smith, et al., rev. ed., introd. Michael Gnarowski. Essays on Canadian Writing, Nos. 7-8 (Fall 1977), pp. 145-50.
B459 Rev. of The Ordinary Invisible Woman, by Gwen Hauser. CV/II, 5, No. 1 (Winter 1979), 31.
B460 Rev. of Aurora: New Canadian Writing, ed. Morris Wolfe. West Coast Review, 14 (April 1980), 6.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002002007
Record: 12- Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Articles
- Other Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
p. 160-164 (5 p.) - Links:
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- Database:
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Articles
Ricketts, Alan (compiler)
B361 "Katherine Mansfield." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 43 (Easter 1918), 21.
B362 "The Poetry of E.J. Pratt." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 43 (Easter 1918), 22.
B363 "Literature and the T.T.C." Privateer, 4 Oct. 1929, p. 29. Signed: "D. K. L."
B364 "Impressions." Privateer, 11 Oct. 1929, p. 5.
B365 "John Brown's Body and the Canadian Civil War." Privateer, 18 Oct. 1929, pp. 11-12.
B366 "Student Life Abroad." Privateer, 1 Nov. 1929, pp. 9-10.
B367 "The Dusty Answer: A Handbill for Housekeepers." Privateer, 8 Nov. 1929, p. 13.
B368 "From a Norman Window." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], Christmas 1929, p. 14.
B369 "Anglo-French Quarterly." Saturday Night, 22 March 1930, p. 10.
B370 "Art Exhibition at the C.N.E." Masses, 1, No. 6 (Nov. 1932), n. pag.
B371 "The Guild of All Arts." Masses, 1, No. 6 (Nov. 1932), n. pag.
B372 "Brief History of Canadian Art." Masses, 1, No. 9 (May-June 1933), 8-9. Written with "C. R. P." Dorothy Livesay does not remember the identity of this winter.
B373 "Poet's Progress." New Frontier, 2, No. 3 (July-Aug. 1937), 23-24.
B374 "This Canadian Poetry." The Canadian Forum, April 1944, pp. 20-21.
B375 "Summary." The Canadian Forum, July 1944, p. 89.
B376 "China's Co-Operatives." The Canadian Forum, Nov. 1947, pp. 179-80.
B377 "Raymond Knister: A Memoir." In Collected Poems of Raymond Knister. By Raymond Knister. Ed. Dorothy Livesay. Toronto: Ryerson, 1949, pp. Xl-xli.
B378 "The Poetry of Anne Marriott." Educational Record [Quebec], 65, No. 2 (April-June 1949), 87-90.
B379 "Poetry at His Fingertips: Sightless Alan Crawley of West Vancouver Edits Unique Poetry Anthology." The Vancouver Sun, 12 Jan. 1952, p. 17.
B380 "Ethel Wilson: West Coast Novelist." Saturday Night, 26 July 1952, pp. 20, 36.
B381 "Group C: Summary by Dorothy Livesay." Canadian Writers' Conference: The Writer and the Public, Queen's Univ., Kingston, Ont. 30-31 July 1955. Printed in Writing in Canada: Proceedings of the Canadian Writers' Conference, Queen's University, 28-31 July, 1955. Ed. George Whalley. Introd. F. R. Scott. Toronto: Macmillan, 1956, pp. 132-35.
B382 "London Notes." The Canadian Forum, Nov. 1958, pp. 171-72.
B383 "The Making of Jalna: A Reminiscence." Canadian Literature, No. 23 (Winter 1965), pp. 25-30.
B384 "The Polished Lens: Poetic Techniques of Pratt and Klein." Canadian Literature, No. 25 (Summer 1965), pp. 33-42.
B385 "Mazo de la Roche: 1879-1961." In The Clear Spirit. Twenty Canadian Women and Their Times. Ed. Mary Quayle Innes. Toronto: Canadian Federation of University Women/Univ. of Toronto Press, 1966, pp. 242-59.
B386 "The Sculpture of Poetry: On Louis Dudek." Canadian Literature, No. 30 (Summer 1966), pp. 26-35.
B387 "Aspects of Symbolism." Modern Quarterly, 17 (Jan. 1967), 114-16.
B388 "Mazo Explored." Canadian Literature, No. 32 (Spring 1967), pp. 57-59.
B389 "Fred and the Fiddlehead." The Atlantic Advocate, May 1967, pp. 16-28.
B390 "Livesayana." Canadian Author & Bookman, 43, No. 1 (Autumn 1967), 1, 10-11.
B391 "A Creative Climate for English Teaching." English Quarterly, 1, No. 1 (June 1968), 31-38.
B392 "Search for a Style: The Poetry of Milton Acorn." Canadian Literature, No. 40 (Spring 1969), pp. 33-42.
B393 "The Documentary Poem: A Canadian Genre." Association of Canadian University Teachers of English, Learned Societies, York Univ., Downsview, Ont. 12 June 1969. Printed in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Patterns of Literary Criticism, No. 9. Chicago: Univ. of Chicago Press, 1971. Rev. ed. Toronto: Univ. of Toronto Press, 1977, pp. 167-81.
B394 "Song and Dance." Canadian Literature, No. 41 (Summer 1969), pp. 40-48.
B395 "Edmonton Writers Need Exposure in 'Little' Magazines." The Gateway [Univ. of Alberta], 14 Nov. 1969, p. c7.
B396 "Frenzies, Lemans, Concretemen." The Canadian Forum, Jan. 1970, p. 130.
B397 "Poets in Conclave." Canadian Literature, No. 47 (Winter 1970), pp. 73-74.
B398 "A Prairie Sampler." Mosaic, 3, No. 3 (Spring 1970), 85-91.
B399 "Early Days." The Canadian Forum, April-May 1970, pp. 34-36.
B400 "The Native People in Our Canadian Literature." English Quarterly, 4, No. 1 (Spring 1971), 21-32.
B401 "The Hunters Twain." Canadian Literature, No. 55 (Winter 1973), pp. 75-98.
B402 "Getting It Straight." Impulse, 2, Nos. 3-4 -Porcepic, 1, No. 2 (May 1973), 29-35.
B403 "Tennyson's Daughter or Wilderness Child? The Factual and Literary Background of Isabella Valancy Crawford." Journal of Canadian Fiction, 2, No. 3 (Summer 1973), 161-67.
B404 "A Writer in the Depression." In Essays in B.C. Political Economy. Ed. Paul Knox and Philip Reznick. Vancouver: New Star, 1974, pp. 65-73.
B405 "A Putting Down of Roots." Editorial. CV/II, 1, No. 1 (Spring 1975), 2.
B406 "Livesay's Choice." Canadian Dimension, 10, No. 8 (June 1975), 15-16.
B407 "Rememberings." CV/II, I, No. 2 (Fall 1975), 2-3.
B408 Foreword. In Alan Crawley and Contemporary Verse. By Joan McCullagh. Vancouver: Univ. of British Columbia Press, 1976, pp. vii-xvii.
B409 "Two Women Novelists of Canada's West." Review of National Literatures, 7 (1976), 127-32.
B410 "Progress Report." Editorial. CV/II, 2, No. 1 (Jan. 1976), 2-3.
B411 "Canadian Poetry and the Spanish Civil War." CV/II, 2, No. 2 (May 1976), 12-16. RHLH.
B412 Editorial. CV/II, 2, No. 2 (May 1976), 2.
B413 "Touching the Earth." CV/II, 2, No. 3 (Autumn 1976), 35.
B414 "Expatriots, Exiles and Some Homebodies." Editorial. CV/II, 2, No. 4 (Dec. 1976), 2.
B415 "Poetry. Notes." CV/II, 2, No. 4 (Dec. 1976), 3.
B416 "Canadian Writers in Bulgaria." Journal of Canadian Fiction, No. 19 (1977), pp. 38-39.
B417 "Commentary." West Coast Review, 12, No. 2 (1977), 69-70. A commentary by Livesay on her poems published in the issue. (See B265, B266, B267, B268.)
B418 "Poetry Notes." CV/II, 3, No. 2 (Summer 1977), 2.
B419 "Poets Yap, Writers Are Suppressed -- Why Can't Canada Be Just Like Bulgaria?". The Globe and Mail, 16 July 1977, p. 6.
B420 "On the Way Out." Editorial. CV/II, 3, No. 3 (Jan. 1978), 2.
B421 "Ambivalences." Room of One's Own, 5, Nos. 1-2 (1979), 95-96.
B422 "At the Back of My Mind 1958-9.'' Room of One's Own, 5, Nos. 1-2 (1979), 37-41.
B423 "At the World's End; Where I Am Now." Room of One's Own, 5, Nos. 1-2 (1979), 113-14.
B424 "Diary Notes (May/June 1979)." Room of One's Own, 5, Nos. 1-2. (1979), 77-82.
B425 "Doctors." Room of One's Own, 5, Nos. 1-2 (1979), 92-94.
B426 "Leftovers." Room of One's Own, 5, Nos. 1-2 (1979), 98-99.
B427 "No Rape." Room of One's Own, 5, Nos. 1-2 (1979), 97.
B428 "Not on My Verandah." Room of One's Own, 5, Nos. 1-2 (1979), 83-91.
B428a "Introduction." In In Due Season. By Christine Van der Mark. Vancouver: New Star, 1979, n. pag.
B429 "Remembering Mazo." In Selected Stores of Mazo de la Roche. Ed. and introd. Douglas Daymond. Ottawa: Univ. of Ottawa Press, 1979, pp. 11-13.
B430 "A Canadian Writer's View of the SOVA Conference." CHIMO, No. 1 (Spring 1980), pp. 6-7.
B431 "Carr and Livesay." Canadian Literature, No. 84 (Spring 1980), pp. 144-47.
B432 "An Excursion into Understanding." The Vancouver Sun, 15 Oct. 1981, p. 5.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
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- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
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B549 Alan Crawley Profile. Toronto: CBC Special Disc Collection, 1950.
B550 Six Vancouver Poets. Folkways, 1960.
B551 Canadian Poets on Tape. No. 2. Prod. Earle Toppings. Toronto: Ontario Institute for Studies in Education, 1970. (Cassette; 33 min.) Reproduced Scarborough: Van Nostrand Reinhold, 1972. (Cassette; 33 min.) This cassette also includes Gwendolyn MacEwen. Livesay reads the following poems: "Ballad of Me," "Bartok and the Geranium," "Call My People Home," "Day and Night," "Green Rain," "Lorca," "The Rat," "Signature," "Song for Solomon," "Such Silence," and "Zambia: The Leader and the Prophetess." The recording also includes Livesay's commentary on each poem.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
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- Author(s):
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- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
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B358 Libretto. The Lake and Susan Allison. By Barbara Pentland. CBC Radio, 1955. A chamber opera for four voices and fifteen instruments. Music by Barbara Pentland.
B359 "The Woman I Am." Text for Interpretive Dance. Rachel Browne and the Contemporary Dancers [Winnipeg]. 24-25 Oct. 1975.
B360 "Disasters of the Sun." Music by Barbara Pentland. Winnipeg, 23 Jan. 1977. A seven-poem cycle.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
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- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books
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- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
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- Bibliography
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- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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B354 "Joe Derry: A Pantomine in Seven Scenes with Recitation for Children's Groups." Masses, No. 10 (Sept. 1933), pp. 14-15.
B355 Momatkum. CBC Radio, 25 Sept. 1951.
B356 "Edith Sitwell Anthology." CBC Radio, 17 March 1954.
B357 "Edith Sitwell Anthology." CBC Radio, 14 Dec. 1964.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
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- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books
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- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Note: When an item is reprinted m one of Livesay's books, this fact is noted in the entry through one of the following abbreviations:
Call My People Home -------------------------- CMPH
Collected Poems: The Two Seasons --------------- CP
The Colour of God's Face ---------------------- CGF
Day and Night ---------------------------------- DN
The Documentaries ------------------------------- D
Green Pitcher ---------------------------------- GP
Ice Age ---------------------------------------- IA
New Poems -------------------------------------- NP
Nine Poems of Farewell 1972-1973 -------------- NPF
The Phases of Love ----------------------------- PL
Plainsongs, 1st ed ----------------------------- P1
Plainsongs, 2nd ed ----------------------------- P2
Poems for People ------------------------------- PP
Right Hand Left Hand ------------------------- RHLH
Selected Poems of Dorothy Livesay [1926-1956] -- SP
Signpost ---------------------------------------- S
The Unquiet Bed -------------------------------- UB
A Winnipeg Childhood --------------------------- WC
The Woman I Am: Best Loved Poems from One of
Canada's Best Loved Poets ---------- WIA
Poems
B1 "Absence." In Poetry Yearbook, 1926. Montreal: Canadian Authors Association, 1926, p. 32. CP ("The Absences").
B2 "Fireweed." In Poetry Yearbook, 1926. Montreal: Canadian Authors Association, 1926, p. 33. GP; CP.
B3 "Shower." In Poetry To-Day ["A Quarterly 'Extra' of The Poetry Review"], Summer 1927, p. 67. Rpt. in The Mail and Empire [Toronto], 26 Nov. 1927, n. pag. GP; CP (revised).
B4 "Advice to the Lovelorn: A Triolet." The Varsity [Univ. of Toronto], 10 Oct. 192 Signed: "D. L."
B5 "Leaves." The Varsity [Univ. of Toronto], 16 Nov. 1927, p. 2. Signed: "K. B."
B6 "Phantoms." The Varsity [Univ. of Toronto], 19 Dec. 1927, p. 6.
B7 "Song for a Cynic." The Varsity [Univ. of Toronto], 19 Dec. 1927, p. 1.
B8 "Growth." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 42 (Christmas 1927), 25. CP.
B9 "The Man of Destiny." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 41 (Christmas 1927), 25.
B10 "Nymph Song." Vancouver Province, 30 Dec. 1927, p. 26.
B11 "Impuissance." In Poetry Yearbook, 1918. Montreal: Canadian Authors Association, 1918, p. 18. GP; CP.
B12 "Fate's Revenge." The Varsity [Univ. of Toronto], 21 Feb. 1928, p. 2. Signed: "D. K. L."
B13 "Dimitry in Town." Chatelaine, March 1918, p. 16. Rpt. in Vancouver Province, 17 March 1918, p. 6. GP ("A Country Mouse in Town").
B14 "Such Silence." Willison's Monthly, April 1918, p. 432. GP; SP (revised); CP.
B15 "Sudden Awakening." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 43 (Easter 1918), 17.
B16 "Secret." Chatelaine, May 1918, p. 19. Rpt. in Vancouver Province, 2 May 1918, p. 6. GP; CP.
B17 "A Thief in Heaven." Vancouver Province, May 1918, p. 6.
B18 "The Woman Who Lived Alone." Vancouver Province, 15 July 1918, Sec. Magazine, p. 4.
B19 "Enchantment." Vancouver Province, 22 Sept. 1928, p. 8.
B20 "Injunctions." Vancouver Province, 23 Sept. 1928, p. 6.
B21 "Messages." Vancouver Province, 23 Sept. 1918, Sec. Magazine, p. 4. Rpt. in The Fiddlehead, No. 71 (Winter 1967), pp. 50-51.
B22 "Testament." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], 17, No. 44 (Christmas 1928), 24. S; CP.
B23 "Pioneer." In Poetry Yearbook, 1929-30 Montreal: Canadian Authors Association, 1929, p. 23. CP.
B24 "City Wife." The Varsity [Univ. of Toronto], 11 Jan. 1929, p. 1. S; CP (revised). Extracts from the Jardine Memorial Award Prize poem.
B25 "Sheila." Saturday Night, 16 March 1929, Spring Literary Supplement, p. 4.
B26 "City Night." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], Easter 1929, p. 10.
B27 "Parrot of Night." The Canadian Forum, Sept. 1929, p. 422. S ("Staccato"); CP.
B28 "North Country." Privateer, 4 Oct. 1929, p. 3. Signed: "D. K. L."
B29 "Song for Departure." Saturday Night, 12 Oct. 1929, Fall Literary Supplement, p. 4. S; CP.
B30 "Alienation." Privateer, 16 Dec. 1919, p. 15. Rpt. in The Canadian Forum, Jan. 1931, p. 134. S; SP; CP.
B31 "In the Street." Privateer, 16 Dec. 1929, p. 15. S; CP.
B32 "Journey." Privateer, 16 Dec. 1929, p. 15. S; CP.
B33 "Prelude." Privateer, 16 Dec. 1929, p. 15. CP ("The Gulls").
B34 "Sea-Flowers." Saturday Night, 5 April 1930, 13. S; SP (revised); CP (revised).
B35 "Tokens." The Canadian Forum, May 1930, p. 286. S; SP (revised); CP (revised); WIA.
B36 "If It Were Easy." The Canadian Forum, July 1930, p. 356. CP.
B37 "I Was Not Indiscreet." Saturday Night, 11 Oct. 1930, p. 19.
B38 "In the Wood." Varsity [Univ. of Toronto], 16 Dec. 1930. Rpt. in Trinity University Review, 43, No. 4 (Jan. 1931), 122. S; CP.
B39 "Gardening." St. Hilda's Chronicle [Trinity College, Univ. of Toronto], Christmas 1930, p. 6.
B40 "Green Ram." St. Hilda's Chronicle, Christmas 1930, p. 17. S; SP; CP; WIA.
B41 "The Difference." The Canadian Forum, May 1931, p. 293. S; SP', CP (revised); WIA.
B42 "Song for Solomon." The Canadian Forum, June 1931, p. 329. S; SP; CP.
B43 "The Unbeliever." The Canadian Forum, Sept. 1931, p. 458. S; CP.
B44 "No Kiss." The Canadian Forum, Dec. 1931, p. 103.
B45 "'Haunted House.'" Voices, Winter 1931, p. 262. S; CP (revised).
B46 "Morning in Autumn." The Canadian Forum, Jan. 1932, p. 134.
B47 "Postscript." The Canadian Forum, Jan. 1932, p. 134. UB; CP; WIA.
B48 "Reiteration." The Canadian Forum, Jan. 1932, p. 134.
B49 "Samaritan." The Canadian Forum, Jan. 1932, p. 134.
B50 "Pink Ballad." Masses, 1, No. 7 (Dec. 1932), n. pag. RHLH. Signed:" D. L."
B51 "A Girl Sees It!". Masses, 1, No. 8 (March-April 1933), n. pag. CP ("In Green Solariums").
B52 "Broadcast from Berlin." Masses, 2, No. 10 (Sept. 1933), 10.
B53 "Canada to the Soviet Union." Masses, 2, No. 12 (March-April 1934), 9. RHLH.
B54 "Day and Night." Canadian Poetry Magazine, i, No. 1 (Jan. 1936), 8-13. DN; SP; D (revised); CP (revised); RHLH (revised).
B55 "Shaped Like a Bugle." The Canadian Forum, May 1936, p. 11. Rpt. in Saturday Night, 24 June 1939, p. 8. CP ("'Queen City'").
B56 "Yes." New Frontier, 1, No. 2 (May 1936), 24.
B57 "Doom Elegy." New Frontier, 1, No. 4 (July 1936), 14.
B58 "Elegy for Today." New Frontier, 1, No. 4 (July 1936), 14.
B59 "Two Poems: And Still We Dream." New Frontier, I, No. 6 (Oct. 1936), 5. CP ("Deep Cove: Vancouver").
B60 "Two Poems: Man Asleep." New Frontier, I, No. 6 (Oct. 1936), 5.
B61 "The Fallow Mind." The Canadian Forum, Dec. 1936, p. 71. Rpt. in The Canadian Forum, Dec. 1939, P. 277. DN ("Seven Poems [v. The fallow mind in winter...]"); CP.
B62 "The Dispossessed." New Frontier, 1, No. 10 (Feb. 1937), 7.
B63 "In Praise of Evening." New Frontier, 1, No. 10 (Feb. 1937), 7.
B64 "In Preparation." New Frontier, I, No. 10 (Feb. 1937), 7.
B65 "A Mother, 1918." New Frontier, I, No. 12 (April 1937), 19.
B66 "Spain." New Frontier, 2, No. 2 (June 1937), 16. Rpt. in Marxist Quarterly, No. 18 (Summer 1966), p. 2. CP.
B67 "For Ontario." In New Harvesting: Contemporary Canadian Poetry, 1918-1938. Ed. Ethel Hume Bennett. Toronto: Macmillan, 1938, p. 69.
B68 "Winter." In New Harvesting: Contemporary Canadian Poetry, 1918-1938. Ed. Ethel Hume Bennett. Toronto: Macmillan, 1938, p. 67. SP.
B69 "Annie Charlotte Dalton." Saturday Night, 29 Jan. 1938, p. 3.
B70 "At English Bay." Saturday Night, 5 March 1938, p. 2. CP ("At English Bay: December, 1937"); RHLH.
B70a "Grouse Mountain." Full Tide, 2, No. 3 (May 1938), 2.
B71 "Challenge from Clairton." Canadian Poetry Magazine, 3, No. 3 (Dec. 1938), 39.
B71a "Words for a Chorus." Full Tide, 3, No. 1 (Feb. 1939), 6.
B72 "Cataclysm." Canadian Bookman, 11, No. 2 (June-July 1939), 16.
B73 "A Clearing." Saturday Night, 22 July 1939, p. 23.
B74 "2000 A.D." Canadian Bookman, 21, No. 4 (Oct.-Nov. 1939), 29.
B75 "We Are Alone." Saturday Night, 18 Nov. 1939, p. 3.
B76 "Lorca." Poetry [Chicago], 58 (April 1941), 30-32. DN; SP (revised); CP (revised); RHLH (revised).
B77 "Nocturne." Poetry [Chicago], 58 (April 1941), 33. Rpt. in Canadian Literature, No. 41 (Summer 1969), p. 96. NP; SP (revised); CP (revised); WIA ["Five Poems for Alan Crawley (1887-1975): Nocturne"].
B78 "The Child Looks Out." Contemporary Verse, No. 1 (Sept. 1941), p. 10. DN ("Seven Poems [vi. The child looks out ...]"); SP (revised -- "The Child Looks Out"); CP (revised --"Seven Poems [vi. The child looks out ...]"); RHLH ("Seven Poems [vi: The child looks out...]").
B79 ["And life goes on. And here .... "] Contemporary Verse, No. 2 (Dec. 1941), p. 8. DN ("Seven Poems [vii. And life goes on. And here...]"); CP.
B80 ["Terrible to be a child, you said: so unaware ...."] Contemporary Verse, No. 2 (Dec. 1941), p. 8.
B81 ["When the house snaps out its lights ...."] Contemporary Verse, No. 2 (Dec. 1941), p. 8.
B82 "Prelude for Spring." Canadian Review of Music and Art, I, No. 3 (April 1942), 12. DN; SP (revised); CP (revised).
B83 "Five Poems [i. In the dream was no kiss ...], [ii. Your face is new ...], [iii. Early I lifted the oars of day ...], [iv. Night's soft armour welds me into thought ...], [v. Your words beat out in space ...]." Contemporary Verse, No. 5 (Sept. 1942), pp. 5-8. DN; SP (revised -- "Annunciation"); CP (revised -- "Five Poems [i. In the dream was no kiss ...], [ii. Your face is new...], [iii. Early I lifted the oars of day...], [iv. Night's soft armour welds me into thought...], [v. Your words beat out in space ...]").
B84 "Serenade for Strings." Contemporary Verse, No. 5 (Sept. 1942), pp. 3-5. Rpt. in Canadian Review of Music and Art, Nos. 7-8 (Aug.-Sept. 1944), P. 6. DN; SP (revised -- "Nativity"); CP (revised -- "Serenade for Strings"); WIA.
B85 "Godmother." Saturday Night, 31 Oct. 1942, p. 35. CP.
B86 "Letter at Midnight." Saturday Night, 31 Oct. 1942, p. 35. CP.
B87 "To an Evacuee." Saturday Night, 31 Oct. 1942, p. 39.
B88 "Preludium." The Canadian Forum, May 1943, P. 31. PP; CP.
B89 "The Outrider." First Statement, 2, No. 2 (Sept. 1943), 11-18. DN; D (revised); CP; RHLH (revised).
B90 "Sonnets for a Soldier [You went, wordless; and I had not the will ...], [When in disgrace with self (not mindful of...], [No hands to touch, whom distance separates ...]." Saturday Night, 4 Dec. 1943, P. 3. PP (revised, excerpt -- [You went, wordless; but I had not the will...] and [No hands to touch, whom distance separates ...]); SP (revised, expanded -- "In Time of War [I. You went, wordless; but I had not the will...], [II. You knew the secret wood. Absorbed ...], [III. Confused, embedded, over-turbulent world ...], [IV. It seemed a poor thing to do, to wed, when the Japs...]"); CP (revised -- "In Time of War [1. You went, wordless; but I had not the will ...], [2. You knew the secret wood. Absorbed...], [3. Confused, embedded, over-turbulent world ...], [4. It seemed a poor thing to do, to wed, when the Japanese ...]"); WIA (excerpt [4. It seemed a poor thing to do, to wed, when the Japanese..."]). There are two of these sonnets m Poems for People. "You Knew the Secret Wood" (B98) and "Railway Station" (B99) are used as Sections I and III in Selected Poems of Dorothy Livesay and Collected Poems: The Two Seasons.
B91 "West Coast: Prelude, The Outsider, Shipyard Voices, Finale." Contemporary Verse, No. 9 (Jan. 1944), pp. 3-10. DN; CP (revised -- "West-Coast: 1943. Prelude, The Outsider, Shipyard Voices, Finale"); RHLH (excerpt -- "from West Coast: Finale").
B92 "Point Counterpoint." The Canadian Forum, Feb. 1944, P. 158. PP.
B93 "The Take-Off." Canadian Review of Music and Art, Feb.-March 1944, P. 22.
B94 "Of Mourners." Queen's Quarterly, 51 (Spring 1944), 72. PP; SP; CP.
B95 "Variations on a Theme by Thomas Hardy." First Statement, 2, No. 6 (April 1944), 2-4.
B96 "In the Rooms of My Mind You Pace." Contemporary Verse, No. 11 (July 1944), pp. 3-4. PP ("Inheritance"); SP; CP.
B97 "Invasion." The Canadian Forum, July 1944, p. 90.
B98 "You Knew the Secret Wood." Contemporary Verse, No. 11 (July 1944), p. 3. PP ("Letter from Canada"); SP (expanded -- "In Time of War [II. You knew the secret wood. Absorbed ...]"); CP ("In Time of War [2. You knew the secret wood. Absorbed...]"). See B90.
B99 "Railway Station." The Canadian Forum, Feb. 1945, P. 160. PP; SP (expanded -- "In Time of War [III. Confused embedded, over-turbulent world ...]"); CP ("In Time of War [3. Confused, embedded, over-turbulent world...]"). See B90.
B100 "F. D. R." The Canadian Forum, June 1945, p. 71. PP ("F D R").
B101 "For Paul Robeson: Playing Othello." The Canadian Forum, June 1945, p. 71.
B102 "Carnival." Contemporary Verse, No. 14 (July 1945), pp. 3-6. PP; SP (revised); CP (revised).
B103 "Small Fry." Northern Review, 1, No. 1 (Dec.-Jan. 1945-46), 45. PP; CP.
B104 "The Inheritors." The Canadian Forum, Aug. 1946, p. 109. PP.
B105 "Abracadabra." Canadian Poetry Magazine, 10, No. 1 (Sept. 1946), 15-16. PP; SP(revised); CP (revised); WIA (revised).
B106 "Evensong." The Canadian Forum, Sept. 1946, p. 125. Rpt. in Quarry, 22, No. 2 (Spring 1973), 7. PP; IA.
B107 "Okanagan Pictures." The Canadian Forum, Sept. 1946, p. 140. PP.
B108 "London Revisited -- 1946." The Canadian Forum, Feb. 1947, p. 154. PP [revised -- "London Revisited (1946)"]; SP ("London Revisited"); CP ("London Revisited: 1946").
B109 "Autumn in Wales." Contemporary Verse, No. 20 (Spring 1947), pp. 6-8. PP; CP (revised).
B110 "Easter." Contemporary Verse, No. 20 (Spring 1947), P. 5. Rpt. in Voices, Spring 1948, p. 30. CP; WIA.
B111 "Page One." Contemporary Verse, No. 20 (Spring 1947), pp. 3-5. Rpt. in Voices, Spring 1948, pp. 2829. PP; SP; CP.
B112 "V-J Day." Contemporary Verse, No. 20 (Spring 1947), p. 6. PP.
B113 "Lullaby." Canadian Poetry Magazine, 11, No. 4 (June 1947), 16-17. PP; CP.
B114 "Matins." Canadian Poetry Magazine, 11, No. 4 (June 1947), 17-18. PP.
B115 "Ferry Trip." The Canadian Forum, Sept. 1947, p. 136. CP.
B116 "A Poet's Grade to Fishing." Saturday Night, 18 Oct. 1947, p. 5.
B117 "Vancouver Winter." Saturday Night, 24 Jan. 1948, p. 21.
B118 "London in Retrospect." Voices, Spring 1948, p. 31.
B119 "Sea Sequence." Contemporary Verse, No. 25 (Summer 1948), pp. 9-10.
B120 "Variations on a Tree." The Canadian Forum, Nov. 1948, p. 185. CMPH; SP (revised); CP (revised); WIA.
B121 "The Child in Fear." Saturday Night, 8 Feb. 1949, p. 25.
B122 "Call My People Home." Contemporary Verse, No. 28 (Sept. 1949), pp. 3-19. CMPH; D(revised); CP (revised).
B123 "Tale." Saturday Night, 28 Feb. 1950, p. 6. CMPH; CP (revised).
B124 "Interval with Fire." Northern Review, 3, No. 3 (Feb.-March 1950), 31-33. CMPH; SP (revised); CP.
B125 "The Invisible Sun." Northern Review, 3, No. 3 (Feb.-March 1950), 33. CMPH ("'Invisible Sun'"); CP (revised -- "Invisible Sun").
B126 "Vancouver." Contemporary Verse, No. 31 (Spring 1950), pp. 15-16.
B127 "Bulldozer." The Canadian Forum, June 1950, p. 60.
B128 "Adam's Choice." The Canadian Forum, June 1950, p. 60.
B129 "Departure in November." Canadian Life, 1, No. 5 (Fall 1950), p. 15. CMPH.
B130 "Ancestral Theme." Contemporary Verse, No. 36 (Fall 1951), pp. 13-15.
B131 "Hymn to Man." Contemporary Verse, No. 36 (Fall 1951), pp. 12-13. SP; CP (revised).
B132 "A Ballad for Susan." The Canadian Forum, Oct. 195z, pp. 162-63. CP (revised -- "Epithalamium for Susan"); WIA.
B133 "Bartok and the Geranium." Contemporary Verse, No. 39 (Fall-Winter 1952), p. 3. NP; SP (revised); CP (revised); WIA.
B134 "Song [Only at night in sleep...]." Saturday Night, 17 Jan. 1953, p. 12. NP ("Winter Song"); CP.
B135 "The Three Emilys." The Canadian Forum, Sept. 1953, P. 138. CP ("The Three Emily's"); WIA.
B136 "Travellers." Queen's Quarterly, 60 (Autumn 1953), 384. SP ("The Traveller"); CP (revised).
B137 "Lament." The Fiddlehead, No. 19 (Nov. 1953), pp. 4-5. Rpt. in Canadian Author & Bookman, 43, No. 1 (Autumn 1967), 10. SP; CP (revised); WIA (revised).
B138 "Prayer." The Fiddlehead, No. 19 (Nov. 1953), p. 1.
B139 "Easter 1951 (After Hiroshima)." The Fiddlehead, No. 21 (May 1954), p. 9. NP ("After Hiroshima"); CP.
B140 "Loss." The Fiddlehead, No. 30 (Nov. 1956), p. 27.
B141 "On Looking into Henry Moore." The Fiddlehead, No. 30 (Nov. 1956), p. 11. SP; CP (revised); WIA.
B142 "The Immortals." The Canadian Forum, Jan. 1957, p. 232.
B143 "Seasonal." The Canadian Forum, Jan. 1957, p. 232.
B144 "To a Younger Poet." The Canadian Forum, Jan. 1957, p. 232. UB.
B145 "Lovers." The Canadian Forum, April 1957, p. 21.
B146 "Meditation." Delta [Montreal], No. 3 (April 1958), p. 23.
B147 "In the Ward." The Canadian Forum, May 1959, pp. 41-42.
B148 "Cote d'Azur." The Fiddlehead, No. 41 (Summer 1959), pp. 2-3.
B149 "In the Park." The Fiddlehead, No. 41 (Summer 1959), P. 3.
B150 "She Replies to His Pleas." The Fiddlehead, No. 41 (Summer 1959), p. 3.
B151 "Natural Selection." New Statesman, 27 June 1959, p. 897.
B152 "Ballet of Squares: Trafalgar, November Eleven, Fitzroy, Guston Square: Quaker Meeting, Russell Square: Winter, Mothering Square." Delta [Montreal], No. 8 (July 1959), pp. 14-15. CP ("Ballet of Squares: 1. Trafalgar, 2. November Eleven, 3. Fitzroy, 4. Guston Square: Quaker Meeting, 5. Russell Square: Winter, 6. Mothering Square").
B153 "The Dismembered Poem." The Canadian Forum, July 1959, p. 95. CP.
B154 "The Emperor's Circus." Prism International, 1, No. 1 (Sept. 1959), 42. UB; CP (revised).
B155 "Spring in Russell Square." The Canadian Forum, Dec. 1959, pp. 201-02. Rpt. ("May in Russell Square") in Delta [Montreal], No. 10 (Jan.-March 1960), pp. 20-21.
B156 "Voyage." The Canadian Forum, Sept. 1960, p. 139. CP ("The Voyage Out").
B157 "Prophet." The Canadian Forum, Jan. 1962, p. 228. CGF ("The Prophetess"); UB (revised -- "Zambia: The Prophetess"); CP.
B158 "Village." Prism International, 4, No. 1 (Summer 1964), 43. CGF; UB (revised -- "Zambia: Village"); CP.
B159 "Ballad of Me." The Canadian Forum, Jan. 1965, pp. 230-31. UB; CP (revised); WIA.
B160 "Zambia." Cyclic, I, No. 1 (June 1965), 6-9. Rpt. in Other Voices, 3, No. 3 (Nov. 1967), 8-11. CP [revised -- "The Second Language (State): Before Independence (Zambia)"].
B161 "Africa." Literary Review, 8 (Summer 1965), 548. 49.
B162 "Cockcrow." Literary Review, 8 (Summer 1965), 548.
B163 "Without Benefit of Tape." Prometheus, No. 2 (Summer 1965), n. pag. Rpt. in The Atlantic Advocate, Sept. 1966, p. 86. UB; CP.
B164 "Making the Poem." BlewOintment, 3, No. I (Nov. 1965), n. pag. UB; CP.
B165 "Gloss of Poems." The Tamarack Review, No. 39 (Spring 1966), pp. 59-61. UB (excerpt -- "For Abe Klexn: Poet"); CP (revised, expanded).
B166 "And Give Us Our Trespasses." The Canadian Forum, June 1966, p. 55. UB; CP (revised).
B167 "Persephone." The Atlantic Advocate, Sept. 1966, p. 86.
B168 "The Sky-Watchers." The Atlantic Advocate, Sept. 1966, p. 86.
B169 "Sunfast." The Atlantic Advocate, Sept. 1966, p. 86. UB; CP (revised).
B170 "This Clowning Art." The Atlantic Advocate, Sept. 1966, p. 86. Rpt. in Other Voices, 3, No. 3 (Nov. 1967), 6-8.
B171 "Eve." The Fiddlehead, No. 70 (Winter 1967), pp. 48-49. UB; CP; WIA.
B172 "For Richer for Poorer." Quarry, 16, No. 2 (Jan. 1967), 30-31.
B173 "Messages." The Fiddlehead, No. 70 (Winter 1967), p. 50.
B174 "Moving Out." The Canadian Forum, Jan. 1967, p. 229. UB; CP.
B175 "The Rat." The Fiddlehead, No. 70 (Winter 1967), pp. 47-48. UB; CP.
B176 "Soccer Game." Quarry, 16, No. 2 (Jan. 1967), 31. Rpt. in Western Voice, 20 Nov. 1973, P. 8. UB; CP (revised).
B177 "Woman Waylaid." The Fiddlehead, No. 70 (Winter 1967), pp. 49-50. UB; CP (revised); WIA.
B178 "Fundy." The Atlantic Advocate, March 1967, p. 41.
B178a "I Drink Now/No Fiery Stuff." Qolus, No. 1 (March 1967), p. 11.
B178b "It Is the Fire You Love." Qolus, No. 1 (March 1967), p. 9.
B179 "Autumn 1966." Queen's Quarterly, 74 (Spring 1967), 62.
B180 "Empress." The Atlantic Advocate, June 1967, p. 72. UB; CP.
B181 "Centennial People." Saturday Night, July 1967, p. 26. Rpt. in Other Voices, 3, No. 3 (Nov. 1967), 5. P1.
B182 "Veldt Voices." Bitterroot, No. 18 (Autumn 1967), pp. 21-22.
B183 "The Sculptors." Other Voices, 3, No. 3 (Nov. 1967), 6-8. P1.
B183a "'I dreamed that Seymour ....'" Up the Tube with One i (open) -- Pomes, No. 4 (1967), p. 1.
B184 "'The Metal and the Flower.'" Scan, No. 4 (April-May 1968),p. 24. P1.
B185 "Waking in the Dark." Scan, No. 4 (Aug.-Sept. 1968), p. 33. Rpt. in New: American and Canadian Poetry, No. 7 (Sept. 1968), p. 33. P1; P2 (revised); CP (revised).
B186 "Random Pictures: The Manga." New: American and Canadian Poetry, No. 7 (Sept. 1968), p. 34. ("Random Pictures").
B187 "Birthday." Pluck, No. 2 (Fall 1968), p. 17. Rpt. in The Canadian Forum, April-May 1970, p. 117.
B188 "The Cave." Pluck, No. 2 (Fall 1968), p. 16. P1; P2; CP.
B189 "Another Journey." Far Point, No. i (Fall-Winter 1968), pp. 33-34. Rpt. in Intrepid, No. 16 (Summer-Fall 1969), p. 70. P1; P2 (revised); CP (revised).
B190 "Among Friends." The Fiddlehead, No. 78 (Jan.Feb. 1969), p. 8.
B191 "Carman and His Editors." The Fiddlehead, No. 78 (Jan.-Feb. 1969) p. 3.
B192 "De-Evolution." The Fiddlehead, No. 78 (Jan.-Feb. 1969), p. 6. P1; P2; CP.
B193 "'Geranus... Crane.'" The Fiddlehead, No. 78 (Jan.-Feb. 1969), p. 5.
B194 "House Keeper." The Fiddlehead, No. 78 (Jan.-Feb. 1969), p. 7.
B195 "Insomnia." The Fiddlehead, No. 78 (Jan.-Feb. 1969), p. 8.
B196 "A Modern Crusoe." The Fiddlehead, No. 78 (Jan.Feb. 1969), p. 4.
B197 "Return to a Birthplace." Canadian Author dr Bookman, 44, No. 3 (Spring 1969), 23. IA; WIA (revised).
B198 "The Lovers." Quarry, 18, No. 4 (Summer 1969), 16-17.
B199 "On Re-Reading a Letter." Quarry, 18, No. 4 (Summer 1969), 19.
B200 "The Operation." Quarry, 18, No. 4 (Summer 1969), 17-18. P1; P2 (revised); CP (revised).
B201 "The Woman with Small Hands." Quarry, 18, No. 4 (Summer 1969), 19.
B202 "A Call for Sorcery." Intrepid, No. 16 (Summer-Fall 1969), p. 72.
B203 "Progression." Intrepid, No. 16 (Summer-Fall 1969), p. 72.
B204 "The Woman." Intrepid, No. 16 (Summer-Fall 1969), p. 71. P1; P2; CP.
B205 "Aliens All." The Merry Devil of Edmonton, i, No. 1 (Nov. 1969), broadsheet.
B206 "No Exit." The Merry Devil of Edmonton, 1, No. I (Nov. 1969), broadsheet.
B207 "Ceremonial Journey." Copperfield, No. 1 (Late 1969), pp. 5-7.
B208 "Snowy Morning." Canadian Author & Bookman, 45, No. 2 (Winter 1969), 8.
B209 "Fancy!". First Encounter, No. 2 [1970], p. 46.
B210 "Rowan Red Rowan." First Encounter, No. 2 [1970], p. 46. P2; CP.
B211 "Mud Bath." The Merry Devil of Edmonton, 1, No. 4 (April 1970), broadsheet.
B212 "From My Balcony." The Canadian Forum, April-May 1970, p. 55.
B213 "The Second Language." The Canadian Forum, April-May 1970, p. 102. CP ["The Second Language (Suite): The Second Language"].
B214 "Solstice." The Canadian Forum, April-May 1970, p. 67.
B215 "The Artefacts: West Coast." The Canadian Forum, Nov.-Dec. 1970, pp. 283-84. P2 ("The Artefacts: West Country"); CP (revised -- "The Artefacts: West Coast").
B216 "Out of the Cradle." The Canadian Forum, Nov.Dec. 1970, p. 282.
B217 "Catalonia." Canadian Literature, No. 47 (Winter 1971), pp. 44-48. CP; RHLH.
B218 "Interior Landscape." The Fiddlehead, No. 88 (Winter 1971), pp. 25-26.
B219 "Intermedia." The Fiddlehead, No. 88 (Winter 1971), p. 26.
B220 "Latter Day Eve." The Fiddlehead, No. 88 (Winter 1971), pp. 28-29 P2; CP (revised); WIA (revised).
B221 "Look to the End." The Fiddlehead, No. 88 (Winter 1971), p. 27. P 2; CP; WIA.
B222 "Old Woman, Waking." The Fiddlehead, No. 88 (Winter 1971), p. 29.
B223 "Savour of Salt." The Canadian Forum, Feb, 1971, p. 393.
B224 "On Cleaning a Chicken." The Antigonish Review, 2, No. 1 (Spring 1971), 80.
B224a "The Children's Letters." Blackfish, No. I (Spring 1971), p. 25.
B224b "The Eaters." Blackfish, No. 1 (Spring 1971), p. 7.
B224c "The Snow Girl's Ballad." Blackfish, No. 1 (Spring 1971), P. 43.
B225 "Weather Forecast." The Antigonish Review, 2, No. 1 (Spring 1971), 80. P2; CP (revised).
B226 "Wringso White." Canadian Author & Bookman, 46, No. 3 (Spring 1971), 10.
B227 "Another Sickness." The Malahat Review, No. 18 (April 1971), p. 92.
B228 "The Invasion." The Malahat Review, No. 18 (April 1971), p. 92.
B229 "Poem [A thousand roots ...]." The Malahat Review, No. 18 (April 1971), p. 94.
B230 "Not." Impulse, 1, No. 3 (Spring 1972), 35. 1972), 37. NPF ["March 26 (for Jean Crawley)"]; WIA ["Five Poems for Alan Crawley (1887-1975): March 26"].
B232 "To Be Blind." Impulse, I, No. 3 (Spring 1972), 35. IA; WIA ["Five Poems for Alan Crawley (1887-1975): To Be Blind"].
B233 "Time and Mrs. Macnair." Chatelaine, May 1972, p. 69. IA.
B234 "The Descent." Blackfish, No. 3 (Summer 1972), n. pag. IA; WIA.
B235 "Remembering Red Lane (1964)." Blackfish, No. 3 (Summer 1972), n. pag. IA (["Remembering Red Lane (died 1964)"].
B236 "The Stoned Woman." Blackfish, No. 3 (Summer 1972), n. pag. IA
B237 "Summer Landscape: Jasper." Blackfish, No. 3 (Summer 1972), n. pag. IA.
B238 "Three Mirror Poems [i. "As you came through the forest ...]." Tuatara [Victoria], Nos. 8-9 (Fall 1972), p. 29. IA ("Schizoid").
B239 "Three Mirror Poems [ii. When she goes to the movies ...]." Tuatara [Victoria], Nos. 8-9 (Fall 1972.), p. 30.
B240 "Three Mirror Poems [iii. You are my mirror...]." Tuatara [Victoria], Nos. 8-9 (Fall 1972), pp. 30-31.
B241 "Sorcery." Chatelaine, Oct. 1972, p. 106. P1; P2; CP.
B242 "Breathing." Northern Journey, No. 2 (1972-73), p. 89. IA; WIA.
B243 "Dilemma." Northern Journey, No. 2 (1972-73), p. 92.
B244 "Mathematics." Northern Journey, No. 2 (1972-73), p. 92. IA; WIA.
B245 "Why We Are Here." Northern Journey, No. 2. (1972-73), p. 91. IA; WIA.
B246 "Aging." Quarry, 22., No. 2. (Spring 1973), 10. NPF; IA (revised); WIA.
B247 "Grandmother." Quarry, 22., No. 2. (Spring 1973), II. NPF; IA (revised); WIA (revised).
B248 "Morning Rituals." Quarry, 22, No. 2 (Spring 1973), 8-9. IA; WIA.
B249 "Victorian Birds." Quarry, 22, No. 2 (Spring 1973), 12-14.
B250 "For Louis Frank: Nootka." Lakehead University Review, 6 (Fall-Winter 1973), 213-14. IA ("News from Nootka"); WIA.
B251 "Green Peace." Lakehead University Review, 6 (Fall-Winter 1973), 214.
B252 "Legends." Lakehead University Review, 6 (FallWinter 1973), 216. IA.
B253 "Thumbing a Ride." Lakehead University Review, 6 (Fall-Winter 1973), 214-15. IA; WIA.
B254 "Survival." BlewOintment, Dec. 1973, pp. 11-12. IA ("The Survivor").
B254a "The Stoned Woman." Air [Women's Eye], Nos. 19-20-21 (1974), p. 50.
B254b "The Survivor." Air [Women's Eye], Nos. 19-20-21 (1974), pp. 51-52.
B254c "Windows." Air [Women's Eye], Nos. 19-20-21 (1974), pp. 55-56.
B255 "Interiors." Northern Light, 1 (Winter 1974), 7-8. IA; WIA.
B256 "Retirement in Victoria." Martlet, 13, No. 17 (10 Jan. 1974), 3.
B257 "Widow." Northern Light, 1 (Winter 1974), 8. IA; WIA.
B258 "For the New Year." Canadian Literature, No. 64 (Spring 1975), P. iii. IA; WIA.
B259 "Manifesto." Canadian Literature, No. 64 (Spring 1975), p. 66. IA.
B260 "The Last Letter." Waves, 4, No. 1 (Autumn 1975), 6. IA ("Last Letter").
B261 "Unitas." Waves, 4, No. 1 (Autumn 1975), 7. IA; WIA.
B262 "The Continuum (In Memory: Pat Lowther, October 1975)." The Fiddlehead, No. 108 (Winter 1976), p. 4. Rpt. (revised) in The Fiddlehead, No. 119 (Fall 1978), p. 11.
B263 "Every Woman You Loved." Queen's Quarterly, 83 (Spring 1976), 71. WIA ["Five Poems for Alan Crawley (1887-1975): Every Woman You Loved"].
B264 "Time Zone." Queen's Quarterly, 83 (Spring 1976), 72.
B265 "A Certain Dark." West Coast Review, 12., No. 2 (1977), 68.
B266 "Everyman, Everywoman." West Coast Review, 12, No. 2 (1977), 68.
B267 "Les Anglais: Coming Out of Quebec City." West Coast Review, 12, No. 2. (1977), 67.
B268 "Male Chauvinist." West Coast Review, 12., No. 2. (1977), 69.
B269 "All the Good Things." The Fiddlehead, No. 119 (Fall 1978), p. 8.
B270 "Canadian." The Fiddlehead, No. 119 (Fall 1978), p. 11.
B271 "The Critics." The Fiddlehead, No. 119 (Fall 1978), p. 13.
B272 "Margaret." The Fiddlehead, No. 119 (Fall 1978), p. 11.
B273 "The Origin of the Family." The Fiddlehead, No. 119 (Fall 1978 ), pp. 14 - 15. Rpt. (revised -- "Voices of Women: A Suite. The Origin of the Family") in Room of One's Own, 5, Nos. 1-2 (1979), p. 72.
B274 "Rarely the Children Know." The Fiddlehead, No. 119 (Fall 1978), p. 14.
B275 "Rush Hour." The Fiddlehead, No. 119 (Fall 1978), p. 13.
B276 "Uncut Grass." The Fiddlehead, No. 119 (Fall 1978), p. 9.
B277 "Valancy." The Fiddlehead, No. 119 (Fall 1978), p. 10.
B278 "Winter Night on the Rideau." The Fiddlehead, No. 119 (Fall 1978), p. 9.
B279 "The Enchanted Isle: A Dialogue." Room of One's Own, 5, Nos. 1-2. (1979), 120-23.
B280 "The Secret Doctrine of Women." Room of One's Own, 5, Nos. 1-2 (1979), 117-19.
B281 "Voices of Women: A Suite. Apocalypse (On hearing how the archaeologists found 'Lucy')." Room of One's Own, 5, Nos. 1-2 (1979), 74.
B282 "Voices of Women: A Suite. As You Get Older." Room of One's Own, 5, Nos. 1-2 (1979), 69.
B283 "Voices of Women: A Suite. Bus Trip." Room of One's Own, 5, Nos. 1-2 (1979), 71.
B284 "Voices of Women: A Suite. Cynic." Room of One's Own, 5, Nos. 1-2 (1979), 70.
B285 "Voices of Women: A Suite. In Times Like These." Room of One's Own, 5, Nos. 1-2 (1979), 65.
B286 "Voices of Women: A State. Mon Semblable, Mon Frere." Room of One's Own, 5, Nos. 1-2 (1979), 66. Rpt. ("Mon Semblable, Mon Frere") in The Canadian Forum, April 1980, p. 21.
B287 "Voices of Women: A Suite. My Source." Room of One's Own, 5, Nos. 1-2. (1979), 64.
B288 "Voices of Women: A Suite. Nothing Is Private." Room of One's Own, 5, Nos. 1-2 (1979), 67.
B289 "Voices of Women: A Suite. Reversals." Room of One's Own, 5, Nos. 1-2 (1979), 68.
B290 "Voices of Women: A Suite. Self-Portrait: The Androgyne." Room of One's Own, 5, Nos. 1-2 (1979), 76.
B291 "Voices of Women: A State. The Tears of Women." Room of One's Own, 5, Nos. 1-2 (1979), 75.
B292 "Home Town." CV/II, 5, No. 1 (Winter 1979), 42.
B293 "Clothes on the Line." The Canadian Forum, April 1980, p. 20.
B294 "Encounter." The Canadian Forum, April 1980, p. 21.
B295 "On Seeing 'The Day of the Dolphin.' " The Canadian Forum, April 1980, p. 20.
B296 "Partings." The Canadian Forum, April 1980, p. 21.
B297 "Pause." The Canadian Forum, April 1980, p. 21.
B298 "Willow Island (Lake Winnipeg)." The Canadian Forum, April 1980, p. 20.
B299 "I Lie Curled." Athanor [Concordia Univ.], 1, No. 4 (Dec. 1980), 52.
B300 "Illumination." Athanor [Concordia Univ.], 1, No. 4 (Dec. 1980), 49.
B301�� "Osmosis." Athanor [Concordia Univ.], 1, No. 4 (Dec. 1980), 51.
B302 "Self on TV." Athanor [Concordia Univ.], 1, No. 4 (Dec. 1980), 51.
B303 "Teachers." Atbanor [Concordia Univ.], 1, No. 4 (Dec. 1980), 50.
B304 "Fever." Canadian Literature, No. 87 (Winter 1980), p. 100.
B305 "Friday's Child." Canadian Literature, No. 87 (Winter 1980), pp. 100-01.
B306 "A Soft Answer to Borges." Canadian Literature, No. 87 (Winter 1980), p. 101.
B307 "Jove's Daughter." Fireweed, No. 9 (Winter 1981), p. 80.
B308 "Dawnings." Waves, 9, No. 3 (Spring 1981), 53-55.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002002001
Record: 17- Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Reprinted anthology contributions: A selection
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- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books
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- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
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- Bibliography
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- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Reprinted anthology contributions: A selection
Ricketts, Alan (compiler)
B309 "Absence," "Exile," "Journey," "The Room," "Sea-Flowers," "Time of Year," "To One Dying," and "Winter." In Modern Canadian Poetry. Ed. Nathaniel A. Benson. Ottawa: Graphic, 1930, pp. 111-20.
B310 "Sea-Flowers." In Our Canadian Literature. Ed. Bliss Carman and Lorne Pierce. Rev. ed. Toronto: Ryerson, 1935, p. 265.
B311 "Day and Night," "Fire and Reason," "For Ontario," "I Saw My Thought," "Sea Flowers," and "Winter." In New Harvesting: Contemporary Canadian Poetry, 1918-1938. Ed. Ethel Hume Bennett. Toronto: Macmillan, 1938, pp. 65-77.
B312 "The Child Looks Out." In Voices of Victory: Representative Poetry of Canada in Wartime. Ed. Amabel King. Toronto: Macmillan, 1941, p. 74.
B313 "The Fallow Mind" and "Prelude for Spring." In An Anthology of Canadian Poetry (English). Ed. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1942, pp. 103-06.
B314 "City Wife," "For Federico Garcia Lorca," "Poem [Night's soft armour ...]," and "Prelude." In The Book of Canadian Poetry: A Critical and Historical Anthology. 1st ed. Ed. A.J.M. Smith. Chicago: Univ. of Chicago Press, 1943, pp. 335-43.
B315 "The Child Looks Out" and "Winter." In A Pocketful of Canada. Ed. John D. Robins. Toronto: Collins, 1946, pp. 124-25, 240-41.
B316 "The Glass House." In The Best American Short Stories: 1951. Ed. Martha Foley. Boston: Houghton Mifflin, 1951, pp. 218-27.
B317 "The Child Looks Out" and "Winter." In 20tb Century Canadian Poetry: An Anthology. Ed. Earle Birney. Toronto: Ryerson, 1953, pp. 21, 47-48.
B318 "Contact," "Epilogue to 'The Outrider,'" "Improvisation on an Old Theme," "The Inheritors," "Interval with Fire," and "Lament." In Canadian Poetry in English. Ed. Bliss Carman, Lorne Pierce, and V. B. Rhodenizer. Rev. and enl. ed. Toronto: Ryerson, 1954, pp. 382-87.
B319 "Fantasia," "On Looking into Henry Moore," and "Signature." In The Oxford Book of Canadian Verse: In English and French. Ed. A. J. M. Smith. Toronto: Oxford Univ. Press, 1960, pp. 273-79.
B320 "Abracadabra, .... And Give Us Our Trespasses," "Annunciation," "Ballad of Me," "Bartok and the Geranium," "A Boy in Bronze," "Day and Night," "Fantasia," "Farewell," "Fire and Reason," "From the Husk," "Going to Sleep," "Green Ram," "Improvisations on an Old Theme," "In the Street," "Lament," "The Leader," "London Revisited II: 1946," "Of Mourners," "On Looking into Henry Moore," "Prelude for Spring," "Sun," and "Wilderness Stone." In Poets Between the Wars: E.J. Pratt, F. R. Scott, A. J. M. Smith, Dorothy Livesay, A.M. Klein. Ed. Milton Wilson. New Canadian Library Original, No. O5. Toronto: McClelland and Stewart, 1967, pp. 126-54.
B321 "Fantasia," "The Leader," and "The Prophetess." In Modern Canadian Verse: In English and French. Ed. and introd. A. J. M. Smith. Toronto: Oxford Univ. Press, 1967, pp. 114-20.
B322 "At Dawn, .... Auguries," "Easter Sunday, .... The Journey East," "The Operation," "The Uninvited," and "Waking in the Dark." In Contemporary Poetry of British Columbia. Ed. J. Michael Yates. Vancouver: Sono Nis, 1970, pp. 205-16.
B323 "Easter Sunday," "Heritage," and "The Operation." In 40 Women Poets of Canada. Ed. Dorothy Livesay with the assistance of Seymour Mayne. Montreal: Ingluvin, 1971, pp. 69-76.
B324 "Ballad of Me," "Call My People Home," "Corbin -- A Company Town Fights for Its Life," "Day and Night," "Fantasia," "Green Rain," "In Time of War," "Lorca," "Of Mourners," "On Looking into Henry Moore," "Prelude for Spring," "Reality," and "Winter." In The Evolution of Canadian Literature in English: 1914-1945. Ed. George L. Parker. Toronto: Holt, Rinehart and Winston, 1973, pp. 276-312.
B325 "Canadiana" and "The Pied Piper of Edmonton." In 39 Below: The Anthology of Greater Edmonton Poetry. Ed. Allan Shute and R. G. Fyfe. Edmonton: Tree Frog, 1973, pp. 61-67.
B326 "Morning Rituals," "Remembering Red Lane (I964)," "Retirement in Victoria," "The Stoned Woman," "The Survivor," and "Windows." In Woman's Eye: 12 B.C. Poets. Foreword and ed. Dorothy Livesay. Vancouver: Air, 1974, pp. 47-56.
B327 "Joe Derry: A Pantomine in Seven Scenes with Recitation for Children's Groups." In Eight Men Speak and Other Plays. Ed. Richard Wright and Robin Endres. Toronto: New Hogtown, 1976, pp. 107-12.
B328 "Les Anglais: Coming Out of Quebec City," "A Certain Dark," "Everyman, Everywoman," and "Male Chauvinist." In New West Coast: 71 Contemporary British Columbia Poets. Ed. Fred Candelaria. Vancouver: West Coast Review Books, 1977, pp. 67-69.
B329 "The Wedding." In Wild Rose Country: Stones from Alberta. Ed. David Carpenter. Ottawa: Oberon, 1977, pp. 129-38. Formerly ruled "The Mother-in-Law" (B353).
B330 "Another Journey," "Bartok and the Geranium," "Day and Night," "Eve," "Fantasia for Helena Coleman, Toronto Poet," "Fire and Reason," "Green Ram," "House amongst Trees," "On Looking into Henry Moore," "Schizoid," and "Unexpected Guests." In Literature in Canada. Ed. Douglas Daymond and Leslie Monkman. Vol. II. Toronto: Gage, 1978, pp. 220-33.
B331 "The Artefacts: West Coast," "Bartok and the Geranium," "Call My People Home," "Fire and Reason," "Going to Sleep," "Green Rain," "The Lake," "Spare," "Summer Landscape: Jasper," "The Unquiet Bed," and "Without Benefit of Tape." In 15 Canadian Poets Plus 5. Ed. Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1978, pp. 1-15.
B331 "The Cabbage" and "Going to Sleep." In To Say the Least: Canadian Poets from A to Z. Ed. and introd. P. K. Page. Toronto: Porcepic, 1979, pp. 41, 51.
B333 "Day and Night," "The Difference," "On Looking into Henry Moore," "Page One," "Signpost," "The Unquiet Bed," and "Wilderness Stone." In Introduction to Poetry: British, American, Canadian. Ed. Jack David and Robert Lecker. Toronto: Holt, Rinehart and Winston, 1981, pp. 580-86.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002002002
Record: 18- Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Short stories
- Other Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Short stories
Ricketts, Alan (compiler)
B334 "Heat." Canadian Mercury, 1, No. 2 (Jan. 1929), 36-38.
B335 "The Youngest: a Story." Privateer, 4 Oct. 1929, p. 6.
B336 "The Gay Unemployed." Privateer, 15 Nov. 1929, p. 10. Signed: "D. K. L."
B337 "Beach Sunday." The Canadian Forum, Jan. 1931, pp. 138-40.
B338 "Six Years." New Frontier, I, No. 1 (April 1936), 13-15. Signed: "Katherine Bligh."
B339 "Case Supervisor." New Frontier, 1, No. 4 (July 1936), 6-8. RHLH.
B340 "The Waiting Room." New Frontier, 1, No. 8 (Dec. 1936), 24-26.
B341 "A Cup of Coffee." Canadian Bookman, Aug.-Sept. 1939, pp. 5-9. RHLH.
B341 "'Proof of the Puddin' -- A North Vancouver Story." Saturday Night, 27 March 1948, p. 29...FT.-B343 "See the World Clearly." Saturday Night, 13 Nov. 1948, p. 36.
B344 "The Glass House." Northern Review, 3, No. 5 (June-July 1950), 1-10.
B345 "The Last Climb." Northern Review, 4, No. 6 (Aug.-Sept. 1951), 2-8.
B346 "First Crocus." The Canadian Forum, March 1952, p. 276.
B347 "Matt." The Canadian Forum, Jan. 1953, pp. 227, 229-30. WC.
B348 "A Prairie Sampler." Mosaic, 3, No. 3 (Spring 1970), pp. 85-92.. WC (excerpt -- "Preludes").
B349 "The Sparrows." Journal of Canadian Fiction, 1, No. 1 (Winter 1972.), 25-27. WC.
B350 "The Two Willies." Journal of Canadian Fiction, 1, No. 1 (Winter 1972.), 27-30. WC.
B351 "An Immigrant." The Literary Half- Yearly, 13, No. 2 (July 1972), 103-10. WC ("Anna").
B352 "The Other Side of the Street." The Literary Half-Yearly, 13, No. 2 (July 1972), 96-103. WC.
B353 "The Mother-in-Law." Branching Out, I, Preview Issue (Dec. 1973), 16-19. Retitled "The Wedding" (B329).
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
Item Number: ABCMA04DLP1000004002002003
Record: 19- Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Unpublished address
- Other Title:
- Part 1 Works By Dorothy Livesay; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 1: Works By Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 130-169)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP1
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Source: Part 1: Works By Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 130-169
Part 1 Works By Dorothy Livesay; Contributions to periodicals and books; Unpublished address
Ricketts, Alan (compiler)
B552 "The Writer and the Idea of Progress." Literature and the Philosophy of Progress, The Association for Canadian and Quebec Literatures, Univ. of Ottawa, Ottawa. 1 June 1982.
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Source: Ricketts, Alan (compiler); . Part 1: Works By Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 130-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP1.
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Record: 20- Title:
- Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Interviews
- Other Title:
- Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours
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- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
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- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Interviews
Ricketts, Alan (compiler)
C72 Fisher, Terry. "'A Poem Is a Happening.'" The Brunswickan [Univ. of New Brunswick], 1966, pp. 5-6. Livesay discusses "the present situation regarding creative writing in Canada" and comments on the influences which have shaped her poetry.
C73 Mintz, Helen, and Barbara Coward. "The Woman I am / is not what you see / move over love / make room for me." The Grape, 9-22 May 1973, pp. 10, 21. Rpt. ("Being a Writer m the Thirties: An Interview with Dorothy Livesay") in This Magazine, 7, No. 4 (Jan. 1974), 19-21.
One-half of the interview is devoted to a discussion of Livesay's memories of the 1930s; the remaining section is an attack upon modern Canadian critics, particularly Margaret Atwood -- who "leaves out the entire tradition of social satire and social comment" in Survival. The Depression memories are interesting, but her passionate defense of a real nationalism, which "comes from an affirmation of love for the land, controlled by the people who live upon it," is the more significant feature of the interview.
C74 Lever, Bernice. "An Interview with Dorothy Livesay." The Canadian Forum, Sept. 1975, pp. 45-52. Includes a discussion of Livesay's whole career. The perspective is backwards from the present. Livesay describes the past fifteen years as the "most rewarding to me." Livesay approves of the comments on the significance of isolation in her work, and stresses the importance of regionalism.
C75 Beardsley, Doug, and Rosemary Sullivan. "An Interview with Dorothy Livesay." Canadian Poetry: Studies, Documents, Reviews, No. 3 (Fall-Winter 1978), pp. 87-97. In this interview Dorothy Livesay talks about her life and the effect of her life's experiences on her writings. She attributes her early writing interests to the influence of literary parents: "... the whole atmosphere was one of writing." Even in her first poems she used free verse, finding it impossible to use standard forms. She speaks of her involvement at the Sorbonne in left wing politics and the resultant change in her "perspectives on literature and art." After a brief time of doing social work, Livesay traveled to revolutionary Africa, an experience which she found "a great psychic release ... to be close to these people who were changing their society." She explains the struggle she had in returning to her writing after the African experience and discusses some of the poetry that emerged.
C76 Carlsen, Jorn. "Dorothy Livesay: Interview." Kunapipi [Univ. of Aarhus, Aarhus, Denmark], I, No. 1 (Summer 1979), 130-34. A short, but informative, interview which concentrates on "the question of national identity" as a "dominant" force m modern Canadian literature and criticism. Livesay rejects the idea of nationalism being a "modern phenomenon." In her view, "the search for assertion of Canadian identity goes back one hundred years."
C77 Marshall, Joyce. "Dorothy Livesay: A Bluestocking Remembers." Branching Out, 7, No. 1 (1980), 18-21. Livesay reveals her feelings about being a woman. She compares her writing career to that of her mother: "Oh, she went on doggedly, but without any real support from her husband." She says that, overall, "young women today have gained ... much greater freedom to live as they choose, married or unmarried, with or without children."
C78 Twigg, Alan. "Matrona." In his For Openers: Conversations with 24 Canadian Writers. Madiera Park, B.C.: Harbour, 1981, pp. 129-37. Livesay speaks about her own writing and the state of Canadian literature: "This is an age ... of refraction." She feels it a positive trait that "poets are now part of popular art." Livesay is strongly against revision of early poetry, calling the practice "dreadful, sinful. Because that was the feeling at the moment and that's what made the poem." She feels that Canadian critics "have no vision" and that "Canadian women writers have been neglected." She is proud that she has helped to lay the foundation for current writers, but she has never felt that her poetry really belonged to her: "I am the vessel through which it comes."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002003004
Record: 21- Title:
- Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Articles and sections of books
- Other Title:
- Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Articles and sections of books
Ricketts, Alan (compiler)
C2 "Girl Wins Coveted Prize." The Evening Telegram [Toronto], 12 Jan. 1929, p. 21. A tribute to the winner of the Jardine Memorial Prize for "City Wife." The reviewer notes that Green Pitcher was favourably reviewed and quotes an anonymous member of the University of Toronto English faculty: "Miss Livesay's poetry is remarkable, not only for its freshness and spontaneity, but for a mastery of word values rarely found in the work of so young a poet."
C3 Collin, W. E. "My New Found Land." In his The White Savannahs. Toronto: Macmillan, 1936, pp. 147-73. Rpt. Literature of Canada: Poetry and Prose in Reprint, No. 5. Toronto: Univ. of Toronto Press, 1975, pp. 147-73. Collin indicates a sharp division between the earlier poetry in Green Pitcher and Signpost, and Livesay's writing in the Depression. The two earlier books reveal the influence of H. D., Emily Dickinson, and Elinor Wylie; in common with the two latter poets, "her emotion receives its final sanction in her mind." During the Depression, Collin argues, her imagery "must now adopt itself to an enthusiastic outlook on life. She has developed beyond her egocentrism to devote herself to a human cause." Approving of this shift, Collin offers an extensive analysis of "The Outrider" and of "Day and Night" as essentially dramatic poems in which the psychological activity results from a particularist view of society "and a kind of thinking correlative with that view." The use of new images, pantomime, dance, and negro spirituals in "Day and Night" is praised. Collin argues that "we cannot study this poetry, as we can study Pratt's, in a detached way, simply as art or as illustrating the invasion of industrial realism into poetry, because it speaks out with such resounding purpose; it sends out a call, it issues a challenge which may well give us pause."
C4 "Writing Too Obscure for Common Man: But New Hope for Canadian Poetry Held by Dorothy Livesay." The Calgary Herald, 17 April 1936, p. 16. RHLH. A summary of Livesay's remarks at a Calgary meeting, emphasizing her belief that modern writers, particularly T. S. Eliot, are "miles away from common man" in their poetry. Livesay also argues that the Depression made Canada a nation by concentrating attention on internal problems. The reporter describes Livesay as an "outstanding young Canadian writer" and comments that "her own work is vital and progressive in thought and expression."
C5 "Poetess to Reside Here." The Vancouver Sun, 6 May 1936, p. 14. Announces Livesay's plans to establish a western headquarters for New Frontier in Vancouver and to speak at a public meeting. Livesay is a member of a "well known family."
C6 Adeney, Marcus. "Poetry." Canadian Review of Music and Art, 1, No. 3 (April 1942), 13. An appreciation of "Prelude for Spring," published in this issue. The theme is "musical" and "the reader can pour his own experience into a waiting mould," creating a sensation which is analogous to listening to an orchestra. The effect is "metaphysical, no matter how direct the poet's initial purpose may have been."
C7 Brown, E.K. On Canadian Poetry. 2nd rev. ed. Toronto: Ryerson, 1944, pp. 70, 83-84. Rpt. Ottawa: Tecumseh, 1973, pp. 70, 83-84. Brown believes that Livesay's "special power" revolves "energy, fiery and at times smoky energy." In Day and Night, which contains "The best of Livesay's poetry," the rhythms "have a triumphant note even when the substance is resentful and protesting .... Miss Livesay's poetic world is not limited to ideas or to the problems of social organization -- nature, especially in its energy, makes a strong appeal to her, and she has found images to express this that stamp her as a poet of delicate as well as strong sensibilities."
C8 Smith, I. Norman. J. F. B. Livesay: A Memory. Ottawa: Mortimer, [1944], pp. 45, 50. Provides a description of her father's career and comments briefly on Dorothy Livesay's early life.
C9 Frye, Northrop. "Poets on the Home Front." Canadian Review of Music and Art, 3, Nos. 1-2 (Feb.-March 1944), 22. Livesay "early showed an unusually cosmopolitan knowledge of modern poetry," particularly of the French Symbolists and the American Imagists. Her earliest verse -- which was "descriptive and meditative" -- was followed by a period of "passionate and eloquent sincerity." "Day and Night" and "Lorca" indicate "the peak of her powers so far." Frye also notes her current tendency to wine poems "of a more romantic tendency, full of a sensitive imagery which often expands into symbolism."
C10 Anderson, Patrick. "Correspondence." The Canadian Forum, May 1944, p. 44. A response to Livesay's "This Canadian Poetry" (published in the April issue [B374]), which argued that Anderson and other members of the Preview group wrote verse revealing "bewilderment" and "imitation." Her article also attacked cosmopolitanism which had no reference to the native tradition. Anderson replied that she showed a "colonial" fear of cosmopolitanism, a provincial carping at those "derivations and early dependencies which are inevitable in young writers." He argued that foreign writers were much more statable as models than Canadians like Pratt, and suggested that Livesay "has really read little of our work." In July, Livesay answered, "If I betray a 'colonial' fear of cosmopolitanism, how is it that while those of Mr. Anderson's generation were attending English public schools, I was observing first hand the rise of fascism m France and Germany; and while they were being psychoanalysed, I was doing everything possible, through organization and through written poetry, to aid in the liberation of Spain?" She attacked the group's "preciosity of thought" and appealed for "mental honesty in poetry."
C11 "Portrait of a Poet: Introducing Dorothy Livesay." Quill & Quire, July 1944, pp. 29-30. Day and Night "will perhaps be more widely read" than A. J. M. Smith's News of the Phoenix or Earle Birney's David because "her social message is writ plain." Unlike Smith, she "does not feel the need to beshroud the social content of her poetry in baffling and sometimes faintly supercilious double talk." Since she writes both of actual conditions and of her own responses to them, "the objective and the subjective have achieved an unusually happy marriage in her verse."
C12 Weekes, Mary. "An Afternoon with the Livesays at Their Home in Clarkson." Saturday Night, 23 Sept. 1944, p. 33. Weekes describes the family estate as "a retreat from the scarred world" and comments on its flowers, books, and cedar beams.
C13 "New Westminster Poet Wins Governor General's Medal." Vancouver Province, 31 March 1945, p. 26. "Her work is virile, sometimes bitter, often beautiful and always eloquent."
C14 Middleton, J. E. "Governor-General's Awards for Literary Leaders of 1944." Saturday Night, 7 April 1945, p. 3. Livesay's insight "is keen, her feeling broad and deep, her expression precise, reticent and musical."
C15 Crawley, Alan. "Dorothy Livesay -- An Intimate Biography." Educational Record [Quebec], 61, No. 3 (July-Sept. 1945), 169-73. Rpt. in Leading Canadian Poets. Ed. W. P. Percival. Toronto: Ryerson, 1948, pp. 117-24. Crawley recounts his first meeting with Livesay in 1938 and describes her life m Vancouver during the war years with emphasis on the context of some of her poems. He refers to the "sensitive and lucent language" of her earlier work and describes the qualities of her poetry as "beauty of pattern and rhythm, fineness of imagery and allusion, strength of emotional concept and expression." These assets are combined with "disciplined and discerning observation, deep sympathy and understanding, from which, with skill and imagination, the poetry is drawn." Crawley also quotes Livesay's claims that she is both a public and private poet and that she is not obscure m comparison to other modern writers.
C16 Pratt, E. J. "Dorothy Livesay." Gants du Ciel, No. 11 (printemps 1946), pp. 61-65. Pratt traces a large development from the early verse (influenced by Emily Dickinson and Robert Frost) to her poems in Day and Night, which he describes as the best social poetry written by a Canadian. He makes the claim that this poetry is successful because she has combined the outrage and commitment of the British poets of the 1930s with the techniques of T.S. Eliot and Gerard Manley Hopkins.
C17 Weaver, Robert. "The Poetry of Dorothy Livesay." Contemporary Verse, No. 26 (Fall 1948), pp. 18-22. Weaver reviews her poetry up to 1948. "Some of the poems in Green Pitcher were clearly immature," but most were "youthfully fresh, pleasant, unpretentious." Livesay's verse in Signpost was "nervous, taut," and "more likely to spark briefly than to smoulder sensuously or burn with a violent roar." The love poems were distinctive and reached "towards identification with something outside of the self." Day and Night contains "radically new subject matter" because her social concern stresses "modern man's feeling of alienation," but also contains "hope of rebirth." This tension reveals the radical paradox -- "to affirm mass action as the means whereby the individual's identity would be restored"; Weaver argues that this paradox eventually disrupted the lively and inquisitive movements for social poetry in the thirties. Poems for People is "a tentative book," with echoes of Day and Night and "suggestions that a new development is beginning .... Today, it appears, she is again searching for signposts, to direct her beyond Day and Night."
C18 Scott, James. "Radio and Writers: West Coast Replies." The Telegram [Toronto], 27 Jan. 1951, p. 4. Scott indicates the nature of the long-standing dispute between Livesay, Earle Birney, and other Vancouver poets, and the Toronto-based directors of CBC literary programming.
C19 Pacey, Desmond. Creative Writing in Canada: A Short History of English-Canadian Literature. Toronto: Ryerson, 1952, pp. 112, 114, 133, 13538, 141, 146, 156, 191. Rev. ed., 1961, pp. 121, 124, 145, 147, 150, 185, 268. "Delicacy, restraint, and precision" are the qualities in Livesay's first two books. Her early poetry demonstrates "the influence of Imagist poets such as H. D. and Elinor Wylie, and of Emily Dickinson." The "stylized emotional cries" of her early verse turned, "in the thirties," into "social verse." The poems in Day and Night are "Bold and passionate," yet "they seem to me to generate more heat than light." In later works, particularly Poems for People and Selected Poems, "there is an attempt at a fusion of the personal and the social .... " Pacey concludes that "She has in her own verse exhibited the qualities which she has asked for in the work of others: objectivity, lyricism and passion."
C20 "Livesay, Dorothy Kathleen." Encyclopedia Canadiana, 1957. "Influenced by her close contact in France with Henri Barbusse's League of Revolutionary Writers, her later work shows a highly developed social consciousness, uses industrial themes and machine images, and adopts jazz rhythms."
C21 Pacey, Desmond. Introduction. In Selected Poems of Dorothy Livesay [1926-1956]. Toronto: Ryerson, 1957, pp. xi-xix. "Nervous intensity" is the most distinctive quality of her early verse. Pacey's compliance with Livesay's request to omit information about her Communist activities in the 1930s leaves a vague impression of her life during the Depression, but Pacey does comment on her current position as a "temporary plateau from which she looks down at life with fresh but sophisticated vision." He also discovers a "fascinating combination of innocence and experience, of hope and fear, of faith and doubt" in her recent work. "At its best, her poetry soars in ecstasy."
C22 Rashley, R. E. Poetry in Canada: The First Three Steps. Toronto: Ryerson, 1958, pp. 110, 111, 127, 130-32, 133, 138, 148, 152, 158. Livesay creates "a somewhat cold and intellectual realization of what is essentially an emotional attitude towards the contemporary world" in her social poetry.
C23 Steinberg, M.W. "Dorothy Livesay: Poet of Affirmation." British Columbia Library Quarterly, 24, No. 2 (Oct. 1960), 9-13. Steinberg observes that in Day and Night "the note of revolution was sounded more passionately than ever before in Canadian literature," but the stress throughout her career is upon the common thread, the "author's cherishing of life." Agreeing with the poet that she is both a private and a public writer, Steinberg adds that "in the most intimate experiences she recounts a universality that takes them beyond the merely personal, and in her 'public' poetry there is the same quality of intense personal response, an overwhelming sense of compassion and a ready identification of herself with the objects of her concern, that characterizes much of her earlier 'personal' poems." Her nature poetry is a separate, third area which is notable because of Livesay's early tendency to project herself into surrounding objects.
C24 Sylvestre, Guy, Brandon Conron, and Carl F. Klinck, eds. "Livesay, Dorothy (1909-)." In Canadian Writers: A Biographical Dictionary. Toronto: Ryerson, 1964, pp. 83-84. Rpt. in Canadian Writers/Ecrivain Canadiens: A Biographical Dictionary. Toronto: Ryerson, 1966, pp. 94-95. Bio-bibliographical details.
C25 Beattie, Munro. "Poetry (1920-1935)." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 729, 738, 740-41, 751, 753, 754, 765, 766, 785. 2nd ed., 1976. Vol. II, 251-53. Livesay's initial Modernism was no "more deliberate than to be unlike the Canadian poetesses of her mother's generation." "Fantasia" is the "most rewarding" poem, revealing "the communication of private sensations in precise images and delicately shifting cadences." Beattie asserts that "no Canadian poet of the past four decades has been more consistently loyal to the principle of organic form." Livesay has retained a "devotion to actuality," but fortunately "the sensitive reverberator has prevailed over the agitator" in her poetry since the 1930s.
C26 Barling, Ann. "New World of Poetry Catches Modern Tempo." The Vancouver Sun, 29 Jan. 1966, p. 28. Barling describes Livesay as the mare leader in the development of a poetry which has "moved out of the bedroom and off the printed page" to be "in the air now, vibrant and alive."
C27 Story, Norah. "Livesay, Dorothy (1909-)." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, pp. 465-66. Story provides biographical details and a brief summary of Livesay's poetic. Livesay's verse "is distinguished by interesting stanza forms, simplicity, and muted rhythms, and by the sincere passion in her poems of social protest."
C28 Wilson, Milton. "Dorothy Livesay." In Poets Between the Wars: E. J. Pratt, F. R. Scott, A. J. M. Smith, Dorothy Livesay, A.M. Klein. Ed. Milton Wilson. New Canadian Library Original, No. O5. Toronto: McClelland and Stewart, 1967, pp. 125-26. Brief biographical and bibliographical summary.
C29 Harvey, Bob. "Poetry: A Cry to Stave Off Evil." The Edmonton Journal, 14 Nov. 1969, p. 63. Harvey describes Livesay's role in the "Poet and Critic" conference held at the University of Alberta and expounds on her ideas that "a poem is a happening"; a poem is "the expression of an essence of an emotion m a rhythmic form" and "a cry" to "let out frustration, to express joy."
C30 Gnarowski, Michael. "Livesay, Dorothy." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 661-62. Rpt. [revised -- "Livesay, D(orothy)"] in Contemporary Poets. 2nd ed. Ed. James Vinson. London: St. James, 1975, pp. 919-23. 3rd ed., 1980, pp. 923-25. Gnarowski provides a brief description of the career of "one of the pioneers of modernism in Canadian poetry." Gnarowski believes that "the process of shifting literary and political orientation did not affect profoundly Livesay's basic style. She continued to write in simple and direct verse forms with variations in tone from the lyric and subdued, through the emotional and political, to the genuinely humane and passionate."
C31 Gibbs, Jean. "Dorothy Livesay and the Transcendentalist Tradition." Humanities Association Bulletin, 21, No. 2 (Spring 1970), 24-39. A detailed analysis of individual poems to prove that Livesay's impetus is a "search for a means of bringing her conflicting responses to life into some kind of reconciliation." The struggle is between the urge for self-sufficiency, which is identified with Thoreau, and a need to find a mystical fusion with man and nature, associated with D. H. Lawrence. The early poems show that human contacts are "threats to the sense of selfhood that comes to the poet through her empathy with nature," but she shifts (with maturity) to a desire to achieve sexual identity and a further mystical union with the procreative forces. Subordination to the will of a man "is the only way to communication with a larger order of things, to becoming one with the natural cycle." The analysis considers The Unquiet Bed to be the climax of her struggle because the "poet has achieved a nearly perfect understanding of the order of nature and her place in it."
C32 Stevens, Peter. "Dorothy Livesay: The Love Poetry." Canadian Literature, No. 47 (Winter 1971), pp. 26-43. Rpt. in Poets and Critics: Essays from Canadian Literature 1966-1974. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1974, pp. 33-52. Stevens suggests a similarity between Livesay's early poetry in Signpost and the verses in The Unquiet Bed and Plainsongs. Although her social poetry includes "no mention of the problem of freedom for each individual" -- since "the question of the roles played in society by man and woman is not raised" -- the earlier and later poetry is concerned with love. In Signpost the "distance between people, in this case between lovers, is part of the poet's concept of love. She seems to be suggesting that union through love is only momentary and that it includes struggle for dominance." Complete union would lead to a vulnerable nakedness. The verse also reveals that "a poetry of real honesty is a defense against the loss of love, that by expressing it accurately, the poet can retain a good deal of the meaning and joy of the experience of love." Stevens finds that "honesty and candour are essential components" of the poems in The Unquiet Bed: "love must be her face, her essential self, her womanhood, with both its submissive qualities and its strength." Physical experience is "a release from physicality but, again, abysses, gaps and silences also define the nature of love." These later poems are "more compelling statements" because the poet and the woman are more mature. Stevens asserts that "the sequences of the love poems in The Unquiet Bed and Plainsongs are the most candid revelations of the experience of love as seen by a woman in Canadian poetry." Despite minor blemishes, "she is able to express her feelings immediately and yet objectively, so that she herself is subjected to the appraising and critical apparatus she uses in her own poetry."
C33 Leland, D. "Dorothy Livesay: Poet of Nature." Dalhousie Review, 51 (Autumn 1971), 404-12. Livesay expresses neither the English Romantic response to nature which characterizes the Confederation poets, nor the terror which Frye perceives to be the basic Canadian reaction. Unlike the earlier poets, she rejects dreams because the "creative Imagination is conscious, rather than a transcendent, dream-like experience." Although "she recognizes the threat m nature, she accepts it with realistic deliberation, and finds therein a source of creativity that incorporates both society and the individual imagination." A passive acceptance of nature is a "greeting," but a true interaction occurs in the "meeting" which derives from understanding through a bi-sexual perspective. Livesay "sings of mankind integrated with nature ..., of mankind surviving and growing only as they accept nature in all its facets. Once integrated in this way, mankind can sing their songs together, as man with man, as poet with reader."
C34 Stevens, Peter. "Out of the Silence and Across the Distance." Queen's Quarterly, 78 (Winter 1971), 579-91. The cohesion in Livesay's poetry comes "from tremendous interest in language, specifically in context, stress, pattern and imagery." Poetry itself is "a swaying form of control and letting go, of speech moving out of a layer of silence" which is made explicit in her themes. There is an emphasis on silence, darkness, and isolation, as evidenced in "The Outrider" and "Lorca." The latter figure is "moving out of silence and sterility., deadness and darkness." At times there is despair -- with no communication, but "art tries to catch the silent, the unspoken, the unexpressible."
C35 Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, pp. 242-43. Atwood mentions Livesay's Collected Poems in connection with Milton Acorn's I've Tasted My Blood, bill bissett's Nobody Owns the Earth, and Dennis Lee's Civil Elegies: "These are four extremely different poets, but all have two things in common: they connect individual oppression with group oppression and individual liberation with group liberation, and they connect social liberation with sexual liberation; or to put it another way, social liberation means Nature no longer has to be dead or a monster."
C36 Reference Division, MacPherson Library, Univ. of Victoria, B.C., comp. "Livesay, Dorothy* 1909- ." In Creative Canada: A Biographical Dictionary of Twentieth-Century Creative and Performing Artists. Vol. II. Toronto: Univ. of Toronto Press, 1972, 167-68. Bio-bibliographical details.
C37 Hazel, Kathryn. "Longing Novelist Became Persistent Poet." Victoria Colonist, 8 Nov. 1972, p. 23. The article, based on an interview, reports that Livesay would have become a novelist rather than a poet if there had been a market for Canadian fiction in the 1920s. It also includes the comments that her parents arranged for the publication of Green Pitcher, that "artists should suffer," and that there is a shortage of WASP ethnic writing in Canadian literature.
C38 "Dorothy Livesay." Manitoba School Library Audio-Visual Association Newsletter, 2, No. 2 (Nov.-Dec. 1972), 37-44. A brief evaluation based on existing criticism. Includes a short bibliography compiled from reference works and the Canadian Periodical Index.
C39 Gnarowski, Michael. "Livesay, Dorothy (McNair) 1909- ." In his A Concise Bibliography of English-Canadian Literature. Toronto: McClelland and Stewart, 1973, pp. 73-74. Rev. ed., 1978, pp. 84-86. Bibliographical listings.
C40 S[tevens]., P[eter]. "Livesay, Dorothy (1909- )." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 215-16. Brief biographical and critical comments. The "gnomic fragments" comprising the "subject-matter and technique" in Green Pitcher are "used more elaborately and successfully in Signpost ...." The "new freedom for Dorothy Livesay as a poet and as a woman" emerged in The Unquiet Bed and Plainsongs.
C41 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 71, 125, 131, 148, 150, 177. Brief mentions.
C42 Davey, Frank. "Dorothy Livesay." In his From There to Here: A Guide to English-Canadian Literature Since 1960. Vol, II of Our Nature -- Our Voices. Erin, Ont.: Porcepic, 1974, pp. 168-72. "Dorothy Livesay is one of the most important Canadian poets of the last half-century. She successfully kept alive the direct and colloquial Heraclitean tradition in Canadian poetry throughout the thirties." Davey features her -- at the expense of "academic" poets -- as a precursor of the poetry of the 1960s. Her social poems are "somewhat less powerful" than her earlier work "because of conventionality in form and an occasional tendency to slip into the jargon and rhetoric of left-wing politics," but the themes and styles of Green Pitcher foreshadow the concerns and methods of the present. Poems in The Unquiet Bed and Plainsongs "possess a delicacy of image and a frankness and directness of language. Imagery from the cosmic world which Livesay cherishes is used to convincingly evoke the natural and proper beauty of surrender to sexuality."
C43 Zimmerman, S. "Livesay's Houses." Canadian Literature, No. 61 (Summer 1974), pp. 32-45. Zimmerman discusses Livesay's use of the house as both concept and symbol. For Livesay, the house and hearth are synonymous, and "the woman is the keeper of the hearth." But even "as a young girl, she must choose whether to accept this role." Zimmerman examines the way in which characters in Livesay's poetry reveal themselves in relation to this choice. In short, the choice is one between "digging in one's garden (intimately associated with houses throughout the poetry)" or of "following 'the flight of the crows' (who lead an uncertain but free life ....)" Livesay's development as a poet is symbolically expressed by her protagonists' desire to move away from their houses. "Though she leaves the house," the representative Livesay persona nevertheless "belongs to it." After the war, Livesay's houses become symbols of "uprooting," though the "personal and sexual" implications of Livesay's house symbolism remains. Livesay deals with her life choices by making "a truce with the house": "she is concerned with reaching a compromise." This compromise, "most clearly stated in 'Woman Waylaid,'" reinforces Peter Stevens' view that the protagonist "makes her choice as individual woman and she is free to make that choice." Finally, with the approach of old age, the house "becomes a vantage point from which she [Livesay] observes the world." Ultimately, Livesay's life (and by implication, the life of her characters) "can be summarized by a list of houses" and the perceivers who inhabit them.
C44 Mitchell, B. "How Silence Sings in the Poetry of Dorothy Livesay." Dalhousie Review, 54 (Autumn 1974), 510-28. A detailed analysis of Livesay's poetry, and of the thematic and stylistic impulses accounting for Livesay's development as a poet. The Collected Poems creates a "psychic autobiography" of Livesay's life as a poet, but it also provides "a record of the changing techniques fashionable in Canadian poetry over the last forty-six years." Livesay's poems are best seen in terms of three distinct groups which represent the "psychic stages" of her life: the first group includes the earliest poems and "reveal a sense of growing self-awareness and concomitant sense of mystery; those in the second group, a sense of the collective 'other' and an awareness of social dis; those in the third, a mature realization of the 'separateness' of the self, an almost pagan exultation in nature and sexuality, and a passionate desire for fulfillment." In the first group, Livesay's emphasis on silence and the absence of silence provides the tension which accounts for "the gradual progress from sensitive adolescence to equally sensitive young womanhood, and a change in focus from the physical world to that of man." The second group of poems, "written during the poet's 'middle period' when she was between thirty and forty," are "the least satisfying poems" in Collected Poems because they are "public," rather than "private"; since Livesay is "naturally a 'private' poet," her "'public' voice sounds contrived." In these poems "the image of silence is rarely used" because "the situation m which the poet finds herself is chaotic and frenzied." As the third phase approaches, the "psychic autobiography" reveals the poet in the role of mother. "[T]he reader senses that the peace implicit in these poems comes not only from this role but also from the poet's having found, for at least a time, someone with whom she could share her experiences .... " Ultimately, however, this vision of peace is shortlived: "the sensitive and intelligent young woman searching for a way in which to reconcile her 'separateness' with her desire for 'unity'" becomes "the mature woman 'bleeding' from her 'jumbled' and 'fumbled' life." In the end, "She is betrayed by her body and 'no yesterdays come back.'"
C45 O'Donnell, Kathleen. "Dorothy Livesay and Simone Routier: A Parallel Study." Canadian Humanities Association Journal, 23, No. 4 (Fall 1974), 28-37. The author concludes that "such a brief juxtaposition of the writings of these two admirable poets may accomplish little in its present form."
C45a New, W. H. "Canadian Literature and Commonwealth Responses." Canadian Literature, No. 66 (Autumn 1975), pp. 14-30. New examines Livesay's African poems in the context of "how the discovery of Africa or Asia contributes to the progress of the literary mind." He argues that Livesay's African poems contain a response comparable to those of Audrey Thomas and Margaret Laurence -- "one that grows out of arid contributes to the poet's own developing point-of-view."
C46 Colombo, John Robert. "Livesay, Dorothy (b. 1909)." In his Colombo's Canadian References. Toronto: Oxford Univ. Press, 1976, p. 303. Bio-bibliographical details.
C47 Farley, T. E. Exiles and Pioneers: Two Visions of Canada's Future 1825-1975. Ottawa: Borealis, 1976, pp. 107, 113-14. "Both Green Pitcher (1929) and Signpost (1932) are in the 'Confederation' tradition, while Day and Night (1944) seems a gentle woman's hope of what the working man's life might aspire to, rather than a poetry of and by the working man."
C48 Moyles, R.G. English-Canadian Literature to 1900: A Guide to Information Sources. Detroit: Gale, 1976, pp. 54, 91. Bibliographical listings.
C49 Woodcock, George. "Poetry." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed., 1976. Vol. III, 307-08. Livesay "has created what is virtually a second life in poetry" in recent years. The Collected Poems indicate a progression "from the social to the personal, but accompanied by the radical change in her poetic style." He adds that "more than any other of the established poets, Dorothy Livesay rose in stature from 1960 onwards; the awkwardness of much of her early verse was purged away."
C50 Arnason, David. Introduction. In Right Hand Left Hand. Ed. David Arnason and Kim Todd. Erin, Ont.: Porcepic, 1977, pp. [11-15]. Arnason provides a brief history of "Canadian writing from the perspective of the political left" and places Livesay, along with Raymond Knister, A. M. Klein, and F. R. Scott, as a writer who countered the literature of the thirties, a literature which was "escapist" and "filled with pathos and bad grammar." Arnason also discusses Livesay's role in the founding of the Progressive Arts Club and its journal, Masses, and her later involvement as an editor of New Frontier. Right Hand Left Hand provides evidence of the efforts of "The Canadian Left," and attempts "to make known an important part of our literary heritage through the eyes of an active participant and sensitive poet."
C51 Foulks, Debbie. "Livesay's Two Seasons of Love." Canadian Literature, No. 74 (Autumn 1977), pp. 63-73. A feminist approach to Livesay's work. The article focuses on the inadequacy of sexual roles as revealed in Livesay's poetry. Livesay begins with an "obsessive reliance on the conventional sex roles," but is troubled by "the destructive effects of these stereotyped patterns of love relationships." In the post-war years "love serves to assuage the anxiety and agony occasioned by more terrible tragedies and imminent dangers"; her "former self-effacement is replaced with pride," and she "has become hardened, even cynical" in more recent work. The later poems reveal a "somewhat demeaning and self-conscious approach to love," but her "opposing visions of love" -- as a "cage" and as completion -- "are never fully realized."
C52 Geddes, Gary, and Phyllis Bruce. "Dorothy Livesay." In 15 Canadian Poets Plus 5. Ed. Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1978, pp. 392-93. A short summary of Livesay's major concerns. Livesay has been involved in "a series of transformations, from her earliest imagist and symbolist lyrics," through her "activist 'agit-prop' writings of the forties and fifties," to her "confessional and feminist writings of the sixties and seventies." The central struggle in her art centres on her need for "privacy and her need for community." Geddes and Bruce go on to discuss the Realist impulse behind much of Livesay's work, and suggest that her theories about the documentary poem are linked to this Realistic impulse. Although "her recent work has been more stridently feminist in its utterances, Livesay has always been concerned with the role of women in society." The critique concludes by suggesting that Livesay's interest in poetry is in large part derived from her parents, "who were literary people and active in the field of journalism." Provides brief bibliographical citations.
C53 Mathews, Robin. Canadian Literature: Surrender or Revolution. By Robin Mathews. Ed. Gall Dexter. Toronto: Steel Rail, 1978, pp. 60, 125, 183. Passing references to Livesay.
C54 McClung, M.G. Women in Canadian Life: Literature. Toronto: Fitzhenry and Whiteside, 1978, pp. 36-38, 39, 42, 64, 70. Bio-bibliographical details.
C55 Stevens, Peter. Modern English-Canadian Poetry: A Guide to Information Sources. Detroit: Gale, 1978, pp. 2, 3, 13, 14, 19, 26, 30, 34, 36, 43, 46, 67, 69, 70, 71, 74-77, 95, 103. Bibliographical details.
C56 Nowlan, Michael O. "With Freshness Is a Leaf." The Fiddlehead, No. 119 (Fall 1978), pp. 5-6. A tribute to Livesay on the fiftieth anniversary of the publication of Green Pitcher. Nowlan suggests that she has created a world of experiences "through her constant desire to 'discover and unriddle' the world around her." She "has championed the cause of Canadian literature during the years when the subject was anathema" and continues to be an important figure: "her presence stimulates; her spirit challenges; her devotion inspires."
C57 Weaver, Robert. Editorial. The Tamarack Review, No. 75 (Fall 1978), pp. 5-7. A fiftieth anniversary tribute to Livesay and Morley Callaghan. There have been "two seasons" in Livesay's work -- "the public and the private poetry." Green Pitcher's poems are "notable for that youthful freshness that seems from this distance to have been one of the abiding characteristics of so much writing in the 1920's." Right Hand Left Hand is praised as "a partial and passionate view of what was a passionate decade in Canada as well as in other countries."
C58 Hughes, Kenneth J. Introduction. In Voices of Discord: Canadian Short Stories from the 1930s Ed. Donna Phillips. Toronto: New Hogtown, 1979, pp. 39-40. Brief comment on "Case Supervisor" (B339).
C59 Marshall, Tom. Harsh and Lovely Land: The Major Canadian Poets and the Making of a Canadian Tradition. Vancouver: Univ. of British Columbia Press, 1979, pp. xiii, 18, 29, 39, 43, 46, 50, 51-53, 76, 78, 83, 171, 179. Marshall traces the development of Livesay's career and suggests that her work is part of a Canadian tradition that extends to such contemporary poets as Miriam Waddington, Margaret Atwood, and Gwendolyn MacEwen. Livesay is "the original earth-mother of modern Canadian poetry .... Her work, can be read, then, as a correlative to the rational masculine bias of many of the earlier writers and as an exploration of the female nature of Canada and the Canadian psychology."
C60 Givens, Imogen. "Raymond Knister -- Man or Myth." Essays on Canadian Writing, No. 16 (Fall-Winter 1979-80), pp. 5-19. A controversial article by Raymond Knister's daughter which questions the validity of Livesay's suggestion, in "Raymond Knister: A Memoir," that Knister committed suicide. (See Az6 and B377.)
C61 Dykk, Lloyd. "A Gallant Poet Speaks Her Mind." The Vancouver Sun, 11 Sept. 1981, pp. L40-L41. A personal and professional profile. Livesay's poetry runs a gamut of "anguished songs of old age," "sexual candor and explicit longings," and social and political commentary. She has "the art peculiar to the art of old age -- to say the most with the least, to crystallize meaning with a glacial concentrated beauty." Livesay has always held certain tenets: " 'that the world must rid itself of war, that women could play a greater part in changing society; that men and women must come to a closer understanding; that even though capitalism has lived so long, it has done nothing but create wars.'" In Right Hand Left Hand, she notes her " 'Chinese approach -- art is a weapon for changing the world .... Very few poets today are what you'd describe as engage .... They're all concerned with technique .... What is post-modernism? Anyway, it was done in the '20s.'" "She reminds such bourgeois that in all the desperate times in history the poets have spoken out, and our times are more desperate than any heretofore."
C62 Drabek, Jan. "Poet's Article Shows Her to Be Dupe of Moscow." Letter. The Vancouver Sun, 21 Oct. 1981, p. A5. In her discussion of the writer's lot in the U.S.S.R., in "An Excursion into Understanding" (B432), Livesay "unquestioningly accepts the official propaganda of a totalitarian regime" and "greatly clashes with the findings of those of us who have lived, studied, or written on both sides of the Iron Curtain ...." Drabek points out many political and cultural omissions and errors in relation to writer's cultural organizations and the policies of the Canadian Embassy, as well as her omission of "the imprisoned or exiled dissidents -- many of them writers like Ms. Livesay ...."
C63 Thompson, Lee Briscoe. "A Coat of Many Cultures: The Poetry of Dorothy Livesay." Journal of Popular Culture, 15, No. 3 (Winter 1981), 53- 61. Several Canadian writers demonstrate "an acquaintance with more than one culture," but Livesay has "ventured into more than one 'alien' segment of the Mosaic ...." It is this "ongoing sensitivity to Canada's multiple cultures" that provides an Important key to understanding Livesay's varied writing. Livesay's multicultural impulses can be traced to her childhood in Winnipeg, a place "which is an intensely multiethnic patch in the cultural quilt of the prairie provinces." Later, the Depression prompted Livesay's "interest in the common man," an interest which, combined with her "multicultural and multiracial experiences of Montreal and New Jersey," allowed her to create "Day and Night," which is "regarded by many as one of her best poems,...." Geography and relocation have been major factors in Livesay's expanding consciousness of the "other" in the shifts in subject matter which accompanied her moves from British Columbia (in the mid 1930s), to London and Paris (in the 1950s) to Africa (in the early 1960s). "More recently there has been a return in Livesay's writing to poetic notations on our native peoples .... " In summary, one can find in Livesay's work "the model for three artistic and creative ways to deal with a multicultural situation." First, she stresses "frank poetic commentary." Second, she celebrates "the richness of diversity." Third, she seeks out "those elements which connect and unite us." Ultimately, the perceptions Livesay arrives at reach "far beyond Canada's problems of multiculturalism to the global ties ...."
C64 Hawkes, Cheryl. "Poet's Progress." Starweek Magazine [Toronto Star], 13-20 March 1982, p. 9. A blurb for the CBC Spectrum show, "Dorothy Livesay: The Woman I Am." "Sometimes irascible, always irreverent and never one to navel gaze, Livesay laid much of the groundwork for Canada's contemporary poets and feminists." The 1980s "demand some response from the literary community." Hawkes briefly sketches Livesay's career as a writer and with various politically and culturally active unions, leagues, and committees. Livesay notes that Margaret Atwood's Survival omitted the Depression poets because their work was too "'international'" and did not reflect the "Canadian tradition of vicimization and failure "
C65 Grimbly, Susan. "Field Notes: Livesay's Life." Books in Canada, May 1982, pp. 3-4. Basically a review of David Tucker's television profile, The Woman I Am (C79), Grimbly outlines what Tucker has included in his "tribute that is long overdue" and notes that Livesay's reputation has been helped by the women's movement, "yet she still is not widely known outside her literary circle." "Strong statements are Dorothy Livesay's trademark. The capitalistic system that caused the Depression, the arms race, and the 'men-only' cast to society have all drawn her outspoken criticism; ... but ... Dorothy Livesay has also developed a greater understanding of life."
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C81 MacDougall Prize of the Poetry Group of the Montreal Canadian Authors Association for "Impuissance" (B11) (1928).
C82 Jardine Memorial Prize at University of Toronto awarded for the poem "City Wife" (B24) (1929).
C83 Governor-General's Award for Poetry for Day and Night (A3) (1944).
C84 Governor-General's Award for Poetry for Poems for People (A4) (1947).
C85 Lorne Pierce Medal of the Royal Society of Canada for a significant contribution to Canadian literature (1947).
C86 President's Medal for the poem "Lament" (B137), University of Western Ontario, London, Ontario (1954).
C87 Awarded a Canada Council Fellowship to study Creative Methods of Teaching English at the University of London (1958).
C88 D.Litt., University of Waterloo (1972).
C89 Made an Honorary Fellow of St. John's College, Winnipeg, Manitoba (1976).
C90 Canada Council Senior Arts Grant (1977).
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Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Book
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Book
C1 Dunn, Margo, Janice Pentland-Smith, Gayla Reid, Helene Rosenthal, Gail van Varseveld, Eleanor Wachtel, and Jean Wilson, eds. Dorothy Livesay Issue [Room of One's Own, 5, Nos. 1-2, 1979]. 127 pp. This special issue of Room of One's Own is a collection of critical essays and appreciations that also includes poems, sketches, and essays by Livesay. Livesay's works, "Ambivalences" (B421), "At the Back of My Mind" (B422), "At the World's End: Where I Am Now" (B423), "Diary Notes (May/June 1979)" (B424), "Doctors" (B425), "The Enchanted Isle: A Dialogue" (B279), "Leftovers" (B426), "No Rape" (B427), "Not on My Verandah" (B428), "An Open Letter to Marsha Barber" (B545), "The Secret Doctrine of Women" (B280), and "Voices of Women: A Suite. My Source [B287], In Times Like These [B285], Mon Semblable, Mon Frere [B286], Nothing Is Private [B288], Reversals [B289], As You Get Older [B282], Cynic [B284], Bus Trip [B283], The Origin of the Family [B273], Apocalypse (On hearing how the archaeologists found 'Lucy') [B281], The Tears of Women [B291], and Self-Portrait: The Androgyne" (B290), are separately listed in Section B. The critics include Marsha Barber, "An Interview with Dorothy Livesay," pp. 13-34; Sharon Nelson, "An Occasional Poem for Dorothy Livesay's Birthday," pp. 115-16; Barbara Pentland, "Dorothy Livesay: A Memoir," pp. 46-45; Joyce Whitney, "Death and Transfiguration: The Mature Love Poems of Dorothy Livesay," pp. 100-12; Jean Wilson, "Introduction: Travelling Lives," pp. 5-12; and George Woodcock, "Sun, Wind, and Snow: The Poems of Dorothy Livesay," pp. 46-62. In talking with Marsha Barber, Livesay speaks openly about her ideas on religion, ageing, and sex. She evaluates her own identity in Canadian literature, calling herself a "resource" because of her longevity. "My poems all fall into different patterns of formalism .... [E]ven though the forms have changed quite a lot the content is very steady .... I was always affected by the times." Her ideas on "the state of the Canadian literary scene" centre on the lack of literary criticism by women. Barbara Pentland, Manitoban composer, recalls meeting Dorothy Livesay on a ship returning from Paris in 1930, and reminisces about the development of their friendship until 1976, when she set the seven poems of "Disasters of the Sun" to music. Whitney lauds Livesay's "mature love poems," and discusses her "spiritual evolution.., from the music of first love to the stillness of fulfillment." Whitney's mare theme concerns Livesay's use of a death-life-love relationship in her love poetry. The "imagery of death ... shift[s] in its meaning over the years," from "a wish to escape from the prison of the body," to "fear of life," to death as another "good" experience in life. Love becomes "a peaceful interlude from the constant motion of life ..., a sickness that enfeebles the sufferer ..., a complete surrender of the self, comparable to the surrender made to death." Whitney emphasizes also the analogy of the climax of love-making and giving birth: "... from this effort comes a dreamy, healing peace which makes the poet whole." Livesay's mature love poems make sexual love part of "the equilibrium between life and death." Wilson writes an introduction for "the special Dorothy Livesay Issue of Room of One's Own." She traces parts of the life and writings of Livesay: "Dorothy Livesay ... has been writing poetry -and prose -- since she was a young girl .... Fifty odd years have seen the publication of many volumes by Dorothy Livesay, two of them Governor-General's Award winners ... [She was] also the winner In 1947 of the Royal Society of Canada's Lorne Pierce Medal ... and since then has received numerous honours .... Dorothy Livesay is a woman always alert to new experiences and new people." Livesay's "zest for living and her personal, direct voice m poetry and prose ... [have] wide appeal .... All her life Dee has dared to live by her own standards, politically, socially, poetically. Dorothy Livesay has an Important place in Canadian literature, as a poet with a compelling voice but even more so as a woman writer." Woodcock argues that "Dorothy Livesay is the best poet writing in Canada today." Her writing has gone through "stages of development emerging naturally from each other .... It is a development in which elements of ... insight, perception, authenticity of expression [have] common veins running from beginning to end and twining together into a central cord of vitality .... " The central cord of vitality becomes Livesay's life, and the veins are Livesay's "social awareness, .... extraordinary honesty," and a "sense of the dual nature of existence." Woodcock praises Livesay's "sensitivity to issues which in the long run are as much social as personal .... I can think of no poet among my contemporaries anywhere who has written more tellingly and authentically on the experience of growing old .... " Livesay's sense of duality is seen in works that express the difference "between what we seem and what we are." Woodcock correlates Livesay's creative development with her life, her influences at different times including Keats, Dickinson, and Wordsworth. "Changes in the nature of a poet's creativity are not so easy to document as change in intellectual attitude .... I see the change beginning with the New Poems ... [but] nowhere are the virtues that Dorothy Livesay has developed as a poet more happily combined than in ... Ice Age."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
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- Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Films
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- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
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- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
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Ricketts, Alan (compiler)
C79 Tucker, David, dir. The Woman I Am. Toronto: Film Arts/D.L.T. in Association with the Canada Broadcasting Corporation [1981].
C80 "Dorothy Livesay's The Woman I Am." Spectrum. CBC TV [Toronto], 17 March 1982 (60 min.). Rebroadcast CBC TV [Wingham and London], 21 March 1982 (60 min.). A profile of Livesay's life and work in the poetic and political fields. Modern poets put poetry on a "metaphysical pedestal. They don't get down to any nitty-gritty at all. They're retreating into fantasy and science fiction and self-exploration and not looking at the world." Poetry should be written in common language. "I never struggle, never force a poem. It just comes out." Livesay discusses the "great revelation" and "release" when she discovered that W.H. Auden, Stephen Spender, and C. Day Lewis wrote poetry "that would change the world. They convinced me that I could and should write poetry that had meaning." "My work is rooted in this country." "Yet the whole world must be embraced." Margaret Atwood's Survival was "a great blow to me." "It was disgraceful for a critical book to leave out a whole era of Canadian poets" because they did not reflect the Canadian tradition of victimization and failure.
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
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- Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Theses and dissertations
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- Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours
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- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
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Part 2 Works On Dorothy Livesay; Book, articles and sections of books, theses and dissertations, interviews, films, and awards and honours; Theses and dissertations
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C66 Beattie, A. M[unro]. "The Advent of Modernism in Canadian Poetry in English, 1912-1940." Diss. Columbia 1957. The stress is upon the McGill Group. Any comments of interest on Livesay are included in Beattie's chapter of the Literary History of Canada. (See C25.)
C67 Schultz, Gregory Peter. "The Periodical Poetry of A. J. M. Smith, F.R. Scott, Leo Kennedy, A.M. Klein and Dorothy Livesay, 1925-1950." M.A. Thesis Western Ontario 1957. Schultz argues that "like the Seventeenth-century Metaphysicals and like Emily Dickinson, Dorothy Livesay presents abstract ideas and emotions in concrete images." No real evaluation of her poems is made, although Schultz does make the misleading assertion that she should be considered as a member of the McGill Movement.
C68 O'Donnell, Kathleen. "Dorothy Livesay." Diss. Montreal 1959. O'Donnell describes Livesay as "one of the most considerable poets of the age" and argues that "her poetry generally concerns either the developments in her own personal life or her interpretation of national or world affairs."
C69 Stevens, Peter. "The Development of Canadian Poetry between the Wars." Diss. Saskatchewan 1968. Stevens describes Green Pitcher as a book of "sombre contemplation" with only "generalized" landscape. Signpost offers "no great advance." "Spain," a 1930s poem, is "hysterical" in tone, and Livesay suffers from the general limitation of the period: "Canadian poems of this period generally tend to adopt a matter-of-fact reportorial tone and deal with specific Canadian and world problems in rather simplistic terms."
C70 Boylan, Charles. "The Social and Lyrical Voices of Dorothy Livesay." M.A. Thesis British Columbia 1969. This thesis includes material on the radical contexts of some of her poetry. Livesay has "never been an ideological innovator. She has responded to events emotionally, almost intuitively, directed by her generally humanist democratic values." Boylan believes that even Green Pitcher contains "a quivering, sensitive spirit of an outsider," but he is disappointed that she returns to this mode (rather than retaining her radicalism) after the Depression. "Call My People Home," for example, is considered to be flawed because it lacks a radical perspective. Boylan includes valuable correspondence and an interview with Livesay on the concerns of the thesis. "Jim" Watts (an associate in the 1930s) and Alan Crawley are also interviewed.
C71 Wood, Susan Jane. "The Poetry of Dorothy Livesay: 1928-1975." M.A. Thesis Concordia 1977. A discussion of Livesay's career from Green Pitcher to Ice Age. Wood perceives the usual shifts in attitude and interest during these years, but also stresses "two major consistencies." "Stylistically, she has always treated poetry as music, song and dance. Thematically, Livesay has dealt with the silence and isolation of the individual versus the collective activity and dynamism of society."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
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Record: 26- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; 40 Women Poets of Canada
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- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: 40 women poets of Canada (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; 40 Women Poets of Canada
Ricketts, Alan (compiler)
D91 McDougall, Anne. "The Trouble with Hen Parties ...." Time [Canada], 11 March 1972, p. 14. "The arrangement has the unfortunate effect of a hen party .... It remains an interesting collection, however, and gives the reader another look at a wide range of poems that have appeared in little poetry magazines or solo collected works. The overall impression is of intense, personal, up-close writing. With very few exceptions -- Atwood, Page, Brewster -- the poems are wry, agonized, despairing. The subjects chosen are suffering, dark, hurt, lonely. There is very little joy. One wonders why .... Altogether, however, the poems dart away from each other and do not benefit from being collected together. Which has always been the trouble with hen parties!"
D92 Engel, Marian. "Other Voices Other Rimes." Books in Canada, Oct. 1972, pp. 32-33. "The editing is particularly good. Even from poets who are best known for Canadian-Nature writing, Dorothy Livesay chooses the hardest, darkest poems, the not-necessarily feminine. There are tough and amusing conceits ... and new voices and old songs."
D93 Vernon, Lorraine. "Forty Women Poets Redress Balance." The Vancouver Sun, 13 Oct. 1972, p. 37A. "Forty Women Poets is the first book of its kind in Canada" and "could be called a milestone in publishing." Vernon says that Livesay's reason for producing the anthology, that "women were not adequately represented m anthologies," is correct and notes the few women included In the major Canadian anthologies. Most of the review is devoted to Vernon's appreciation of the poets included. At the end, she notes, "If I'm expected to make a criticism, it's only this: the Contributors' Notes could have been longer, more explicit."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004021
Record: 27- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; A Winnipeg Childhood
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: WINNIPEG childhood (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; A Winnipeg Childhood
Ricketts, Alan (compiler)
D79 Grosskurth, Phyllis. "A Puzzle, Why Not Simply Drop the Mask?". The Globe and Mail, 29 Sept. 1973, p. 33. Grosskurth wonders why Livesay seems deliberately to "distance herself from her material." A symbolic pattern is weakened by "impersonality" and "we never penetrate the inner life of the child to any depth." The "cryptic, throwaway" remarks have more force in poetry than prose. Livesay leaves the impression of "not being particularly interested in her childhood."
D80 Rapoport, Janis. "Winnipeg Childhood." The Tamarack Review, No. 61 (Nov. 1973), p. 76. Rapoport praises the use of the young girl -- Elizabeth -- as the centre of perception in the novel because the method allows revelation of "the sensitivity, the primal innocence gradually being transformed" during childhood; "and by implication the social and moral prejudices that somehow work their way through into the adult mind stand out in relief against the child's initial naivete."
D81 Stephens, Donald. "Words and Music." Canadian Literature, No. 60 (Spring 1974), pp. 93-95. Stephens finds "countless levels of nuance" which "radiate from the understated themes of these stories." The use of the child allows Livesay to present a less constricted vision than in an autobiography. Stephens also comments on the incidents which "express the frightening sense of separateness, and of the ultimate uselessness of communication."
D82 Harrison, R. T. Rev. of A Winnipeg Childhood. World Literature Written in English, 13 (April 1974), 272-74. The form of "the fifteen short pieces that make up the book are personal, more intimate with human geography than with physical geography. I hesitate to call them stones because their form is essentially lyric, the overall narrative connections loose, the dialogue often weak, the dramatic possibilities undeveloped." But "By the end of the book we begin to see what we have read m a different light. The separate sketches of Elizabeth's life are often unremarkable in themselves, but by the way they reflect upon each other they develop an increasingly convincing impression of an unusually wise and sensitive child."
D83 Watt, F.W. Rev. of A Winnipeg Childhood. The Canadian Forum, April 1974, p. 39. "The book makes no demands on us except to be enjoyed for its freshness, its nostalgic charm, its insights into human nature, and its eloquent central fiction: a child's passage from innocence to experience, from the comforts of mothering homes towards the wilderness of adult vision where there may only be rain for roof and wind for walls." Watt suggests that "we may, if we know Dorothy Livesay's work, hear a hundred echoes of her poetry and understand the better how that poetry came to be."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004017
Record: 28- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Beginnings: A Winnipeg Childhood
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: BEGINNINGS: A Winnipeg childhood (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Beginnings: A Winnipeg Childhood
Ricketts, Alan (compiler)
D84 Duncan, Chester. "Beginnings." Journal of Canadian Fiction, No. 19 (1977), pp. 124-25. "[E]verything in this book has the glow of redemption .... [E]verything is washed, seen, recognized, and coloured by good diction and control." The book also has "a substance that gives nourishment and interest to the text no matter what the theme or fancy .... "
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004018
Record: 29- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Call My People Home
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: CALL my people home (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 189 (1 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Call My People Home
Ricketts, Alan (compiler)
D24 Marriott, Anne. "The New Crop of Chapbooks." Contemporary Verse, No. 34 (Spring 1951), pp. 18-20. The book has "significance and occasional hard emotional impact," but it also "bogs down in prosaic expressions of fact and never gets back onto good poetic ground" In the title poem. Marriott prefers the shorter poems which "do more than merely convey meaning" because they "enlighten our imaginations and provoke our emotions into new patterns and flows of their own."
D25 Frye, Northrop. "Letters in Canada: 1950. Poetry." University of Toronto Quarterly, 20 (April 1951), 259. Frye finds that the lyrics sometimes have "a crackle of wit" which can throw "smoke instead of a spark." The book is "written with close sympathy and a dry, unlaboured irony, and in a taut, sinewy narrative style with no nonsense about it."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004004
Record: 30- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Collected Poems of Raymond Knister
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: COLLECTED poems of Rayomd Knister (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 200 (1 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Collected Poems of Raymond Knister
Ricketts, Alan (compiler)
D90 Crawley, Alan. "The Red Heart and Raymond Knister." Contemporary Verse, No. 31 (Spring 1950), pp. 20-22. Livesay's biographical sketch is "excellent," but "it is unfortunate that the editing of the poetry had not been more rigorous, and that some of the short stories which are so little known had not enlarged this book." Crawley concludes "I am unable to agree with the Smith-Livesay-Kennedy tributes and estimations" of Knister's importance in Canadian poetry.
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004020
Record: 31- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Day and Night
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: DAY and night (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 187-188 (2 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Day and Night
Ricketts, Alan (compiler)
D9 M[acKay]., L[ouIs]. A. "Day and Night." Contemporary Verse, No. 10 (April 1944), pp. 15-16. The volume is exhilarating because it is "the autobiography of a conviction." MacKay finds "a more certain touch, and a broader movement than in either of her earlier collections"; this is combined with a new "intelligibility" of style. He argues that the central fact in the book is not the Depression, but the war, which is viewed by Livesay as "a struggle of human liberation."
D10 Middleton, J. E. "The Current Manner of Poetry and Dorothy Livesay's Art." Livesay "uses dissonances with a purpose; as a reflection of the life she sees and knows," but also retains "a facile command of the older manner as well" -- using traditional techniques. He stresses her "insight" and notes that "in the whole book ... there isn't a cheap or offensive line."
D11 Avison, Margaret. "Books of the Month." The Canadian Forum, June 1944, p. 67. Avison maintains that "If you Insist on a black-and-white dichotomy you are sacrificing the Integrity of your vision." The serious themes are "uneasily vulnerable" because "the ridiculous is never hidden in her sublime."
D12 King, Amabel. "Reviews." Canadian Poetry Magazine, 7, No. 4 (June 1944), 41-42. Livesay is described as "the proletarian poet par excellence," who "has struck out in her own anger and despair at the conditions which change too slowly in a world she must live in and endure." Her poetry is "obviously a revolt against emotional romanticism."
D13 Clarke, George Herbert. "New Canadian Verse." Queen's Quarterly, 51 (Summer 1944), 227. Clarke attacks the "often noisy and even clangorous" social verse and praises the "quieter, finer and, we think, wiser" tone m descriptions of nature. "At times, because a true poet governs them, the two chords merge into a moment's harmony, but her control of intention and material is not constant: an angry declaimer interrupts her and song withers into speech."
D14 Scott, F. R. "Day and Night.'" First Statement, z, No. 10 (Dec.-Jan. 1944-45), 23, 24. Livesay is "a part of our world that is in the making," but "the varied, free, occasionally sentimental style that we have known in Miss Livesay's writing" is "a form more suited to her sensitivity and her personal utterances than to the tougher social themes that occupy some of her poems."
D15 [Kirkconnell, Watson.] "Day and Night." Canadian Poetry Magazine, 8, No. 3 (March 1945), 39. Kirkconnell attacks Livesay's blindness to "vast proletarian slave-camps" in the Soviet Union, but does note "poetry of great originality and distinction." The review argues that she "has also been an assiduous and successful student of poetic technique" and has now "come of age as an artist."
D16 Wells, Henry H. "The Awakening of Canadian Poetry." New England Quarterly, 18 (March 1945), 11-12. Wells asserts that the book "illustrates some of the inevitable refinements in the contemporary movement of which Pratt will almost certainly be regarded as the first and in many ways the most impressive figure." Much of the beauty of her poetry "lies in its purity and translucence, in its lyrical lithesomeness and spontaneity." He finds that the love poems "give chiselled expression to highly feminine and ecstatic experience."
D17 Brown, E. K. "Letters in Canada: 1944. Poetry." University of Toronto Quarterly, 14 (April 1945), 262-63. "Her preoccupation with radical conceptions of social reform has narrowed her vision as a poet and has made her one of our least dependable critics." Livesay does, however, have "an excellence which outruns any intellectual synthesis," and a sensibility which "does not live in the fetid slums, or in megalopolis, or in the mechanized society of her ideal future, but just in wind and sun and rain."
D18 "Poems Worth Studying." Canadian Author & Bookman, March 1946, p. 20. The book "appeals to the mind as well" as the emotions. "Her intensity of feeling and fearlessness in experiment recommend her work to poets who are inclined to think and write tritely."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004002
Record: 32- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Disasters of the Sun, Collected Poems: The Two Seasons
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: DISASTERS of the sun (Book); COLLECTED poems: the two seasons (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Disasters of the Sun, Collected Poems: The Two Seasons
Ricketts, Alan (compiler)
D56 Gibbs, Robert. "Reviews." The Fiddlehead, No. 94 (Summer 1971), pp. 134-35. Gibbs asserts that "age has given the primal, solar energy, which has always been her lyric impulse, a clearer vent." The "controlled intensity" of the book "withdraws attention from the format and grabs it all for the poetry."
D57 Lane, Patrick. "The Collected Poems of Dorothy Livesay." Blackfish, Nos. 4-5 (Winter-Spring 1972-73), n. pag. An interesting twenty-three-page review. Lane underlines the claim that the book is an autobiography and explores (from a New-Left perspective) Livesay's commitments to Women's Liberation, radicalism, the oppressed Metis, and her victimization by Eastern Canadian publishers.
D58 Geddes, Gary. "Livesay Towers Over a Kitchen- Sink Pack." The Globe and Mail, 13 Jan. 1973, p. 31. Geddes argues that the Collected Poems "will come as a shock to many readers. Here is a poet, relatively unsung in her own country, who stands head and shoulders above the pack of neurosis chroniclers and kitchen-sink journalists stalking among us." He stresses that Livesay is, not a "victim," but a "revolutionary"; she reveals "a fine sensibility becoming reformed by a sense of community and making art out of the dialectic of her private and public selves."
D59 Rogers, Linda. "A Woman for All Seasons." Books in Canada, Jan.-Feb. 1973, p. 50. Although Rogers argues that the book is "a history of twentieth century Canada narrated by a woman whose experience is analogous to its unfolding," she rejects the social poetry as "embarrassingly punctuated by apostrophe" and prefers the times when Livesay "abandons evangelism for the private event."
D60 Aspinall, Dawn, Charles Lillard, Anne Marriott, and Pat Lowther. "A Discussion." Prism International, 13, No. 1 (Summer 1973), 137-41. Lillard comments that "this woman has lived through every major poetic movement in the twentieth century and almost none of them have touched her." Aspinall stresses the "joy and energy that always hold its opposites." A steady progression in her writing -- while others have failed to advance -is significant to Marriott. Lowther describes the book as "an organic thing that grows and flowers, and there are all sorts of interesting things among the branches too. ! like it very much."
D61 Baugh, Edward. "Dorothy Livesay, Collected Poems." Quarry, 22, No. 4 (Autumn 1973), 2-4. Baugh argues that her poetry "was always assured, always technically expert, always abreast of (and sometimes ahead of) its time," but that it has developed a "more subtle music" with "diction and imagery more demanding." He believes that her "strongest bent is towards the intimate and lyrical," not the public and political.
D62 Skelton, Robin. "Livesay's Two Seasons." Canadian Literature, No. 58 (Autumn 1973), pp. 77-82. Skelton comments that the "language is frequently a little pedestrian, a little too casual," with "many images commonplace," and "many cadences tired and predictable." There is, though, "such passionate honesty of feeling, and such consistent moral courage, that even the grossest defects," as in Hardy's poetry, "become endearing."
D63 Marshall, Tom. "New Books: Poetry." Queen's Quarterly, 80 (Winter 1973), 655-56. "Dorothy Livesay is the original earth-mother of modern Canadian poetry." The social poems "seem, highly perishable," but the later, personal poems are "increasingly tense and dramatic." She has displayed "a considerable feel for tight patterns of sound, rhythm and symbol" and is "by nature a delicate, spare writer."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004012
Record: 33- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Green Pitcher, Signpost
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: GREEN pitcher (Book); SIGNPOST (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 186-187 (2 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Green Pitcher, Signpost
Ricketts, Alan (compiler)
D1 "A Bookworm's Diary." The Vancouver Sun, 5 Oct. 1928, p. 22. Comments that the poems "have a spontaneous life" and are "piquant, graphic, exquisite."
D2 Knister, Raymond. "Modes Conservative and Chic." Saturday Night, 3 Nov. 1928, p. 12. Livesay is a Modernist poet who "is very careful to reject the banal in language if not in thought," although she is "almost too careful at times." Green Pitcher has a "magic of wording sometimes" which "clothes an almost impalpable experience."
D3 "Poetry." The Times Literary Supplement, 20 Dec. 1928, p. 1014. "Laughter runs through her verses like a soft wind through the trees," expressing "at once eager life and quiet sympathy, the motion and the rest wedded."
D4 B., D. W. "Signpost." Lethbridge Herald, 8 Dec. 1932, P. 9. Discerns the influence of Wylie, Emily Dickinson, and Edith Sitwell in her work and comments "how very refreshing is this slender book of verse after the general deluge of lush and emotional naturalism that usually indicates Canadian poetry." The volume is "absolutely concise," "keen," and "intellectual."
D5 "Dorothy Livesay Writes Terse and Homely Poetry." Toronto Daily Star, 10 Dec. 1932, p. 4. There are "many admirable touches In this little volume," although the "poetry is not so original as that which has been attempted by some other Canadian authors."
D6 R.,E.J. "A Young Poet." The Spectator [Hamilton], 10 Dec. 1932, p. 20. Livesay is a Modernist poet, but "is as yet only trying her wings." This second collection, though, shows an advance from Green Pitcher. She is "youth on the threshold, and her songs reflect the freshness of a mind sensitive to beauty, and to the light and shade of life as it flows around her."
D7 "Winnipeg Girl Brings Out Second Successful Book of Verses in East." Winnipeg Free Press, 14 Dec. 1932, p. 11. Decries the lack of sentimentality and "emotional naturalism." Signpost is a disappointment after Livesay's first volume, which had "a swift and darting lightness that made the verse of many of her contemporaries seem stationary and wooden." This book has talent and strength, but "not the divine audacity"; it is more "conscious and deliberate."
D8 Collin, W.E. "Signpost." The Canadian Forum, Feb. 1933, pp. 191-92. Collin believes that Livesay was significant as a transitional poet, "introductory to a poetry which is coming in," but that she was too Romantic to be a truly Modernist poet. He praises her ability to create "dry, hard, coloured, visual images rather than mushy ones engendered by emotions or desires" and finds her style to be "a revolt against romanticism." Since she still writes of "her own mind" and lacks "enough contact with life," however, she is still partially a Romantic poet, less innovative than the McGill poets.
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004001
Record: 34- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Ice Age
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: ICE age (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 195-197 (3 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Ice Age
Ricketts, Alan (compiler)
D65 Ashwell, Keith. "Possible Gift Books." Edmonton Journal, 20 Dec. 1975, p. 30. Ashwell describes Livesay as "one of the heartiest ladies of Canadian letters" and as "one of the few contemporary poets I can take."
D66 Jewinski, Hans. "Poetry." Quill & Quire, Jan. 1976, p. 25. She is "the grande dame of Canadian literature" and "is still taking chances. That is the work of a great poet. That is class." All of her personae are present in this book -- "lover, poet, survivor, grandmother -- in a strong, self-assured manner."
D67 Such, Peter. "Three Grand Old Parties." Books in Canada, Feb. 1976, pp. 9-11. A defense of the view that Livesay's "strength does not lie in the personal lyric of private moan but has always been in the documentary." He describes the book as a "poignant collection" in which "the dedicated and aging woman artist begins to regret the personal sacrifice that her art has meant to her. An aching loneliness runs through her sensuality and she is left with only the therapeutic comfort of her art."
D68 MacSkimming, Roy. "Poet Enjoying the Spotlight." Toronto Star, 4 March 1976, p. E14. Livesay "confronts aging with carnal warmth" in a book that seems to urge "men and women to greater compassion and generosity toward each other." In the background, though, "hovers a certain bleakness about the prospects for humanity."
D69 Stubbs, Roy St. George. "Nourished in Native Soil." Leisure Magazine [Winnipeg Free Press], 6 March 1976, p. 17. Livesay's poetry "has constantly refreshed itself by keeping in touch with the issues of the day." Her "poetic aim has been more to educate than to entertain" and "she shows that poetry is about life and that politics is a large part of life."
D70 Woodcock, George. "Playing with Freezing Fire." Canadian Literature, No. 70 (Autumn 1976), pp. 89-91. The "basic theme is the process of ageing which to the outsider seems like the cooling of a hearth but to the experiencer can be more like eating every day one of those chef's concoctions in which hot and cold are combined miraculously." "For the last ten years now she had been writing better poetry than she ever wrote before, which is only one of the many current examples disproving the old legend that the best lyricists are those who die young. And Ice Age shows, in my view, no slackening from her recent upsurge. The speech is strong and firm, the empathies are wide (e.g. the astonishingly penetrative poem to Alan Crawley, 'To Be Blind'), there is a good deal of the liberated cantankerousness of those to whom age brings a further clearing of the eyes, and there is a haunted consciousness that we advance towards death in a dying world, that the ice age may be universal."
D71 Gatenby, Greg. "On Ice Age." The Tamarack Review, No. 70 (Winter 1977), pp. 91-94. This is "a magnificent collection of poetry touching a myriad of bases and emotions." Gatenby finds particularly "exciting, challenging, and curious" the "way in which Livesay articulates the physical world of women: not lust how they breathe or see, but how they respond, ... how they hurt; how they wonder about men's wondering about them." Gatenby concludes that "balance and consistency have become the hallmark of Dorothy Livesay, an impressive writer of presence, both on the page and while she is reading publicly."
D72 Gotlieb, Phyllis. Rev. of Ice Age. Queen's Quarterly, 84 (Summer 1977), 331-32. Livesay "is a master of technique, and though her language is as clear as a flesh brook running over multicolored stones, her ideas are not simple; they are powerful and subtle enough so that some of the poems I did not like at first reading had engaged me by the third."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004014
Record: 35- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; New Poems
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: NEW poems (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 189-190 (2 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; New Poems
Ricketts, Alan (compiler)
D26 Frye, Northrop. "Letters in Canada: 1955. Poetry." University of Toronto Quarterly, 25 (April 1956), 300-01. "The main Impression is of a disciplined and experienced handling of modern poetic idioms." Frye anticipates future critical discussion with the observation that "a sense of a lonely pessimism, of the shutting off of communication, of the inevitable victories of winter and darkness, gives the poems a plaintively muted quality: they seem to struggle against a conviction that they cannot say much."
D27 Watters, Reginald E. "Books: New Poems." B.C. Magazine [Vancouver Province], 12 May 1956, p. 17. Watters notes the "recurrent symbolism" in the opposition of light and darkness in a book which is a "probe into the moral bases of our age's spiritual impoverishment." Her standards are "more exacting, her judgment is sure, and her achievement unfaltering. Her style has become more concentrated, her imagery richer in color and overtones, and her thought deeper."
D28 Pacey, Desmond. "New Poems." The Fiddlehead, No. 27 (Fall 1956), pp. 22-23. Pacey describes Livesay as a "poetess who is constantly experimenting." He traces her earlier Imagist and radical interests to "a temporary plateau from which she looks down at life with the freshness of her early vision but also with the knowledge derived from prolonged observation." This leads to a duality -- "of innocence and experience, of hope and apprehension." These poems return, in style and mood, to her earliest work because she finds assurance "in the creative imagination, the innocent hope of children, and in individual love" rather than in "political programs."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004005
Record: 36- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Nine Poems of Farewell 1972-1973
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: NINE poems of farewell 1972-1973 (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 195 (1 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Nine Poems of Farewell 1972-1973
Ricketts, Alan (compiler)
D64 Mitchell, Beverly. Rev. of Collected Poems: The Two Seasons and Nine Poems of Farewell 1972-1973. The Fiddlehead, No. 99 (Fall 1973), pp. 96-99. "The Collected Poems creates not only a 'psychic autobiography' but also a record of the changing techniques fashionable in Canadian poetry over the past forty-six years." "Reading the Collected Works leaves one with two overwhelming impressions -- the first is just what a good poet Dorothy Livesay is; the second, how different the 'psychic autobiography' revealed in the poems is from the image Miss Livesay has projected of herself as the rather flamboyant 'dancer celebrating life.'" In Livesay's poetry about the poet as wife and mother, "the technique and subject matter are so perfectly matched that the reader is swept along with the poetic experience." Mitchell notes that "The Nine Poems of Farewell show the poet reduced to near-despair, saying in effect: 'I have seen all things that are done under the sun, and behold, all is vanity and a chase after wind.'"
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004013
Record: 37- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Plainsongs (1st ed.)
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: PLAINSONGS (1st ed.) (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 193-194 (2 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Plainsongs (1st ed.)
Ricketts, Alan (compiler)
D51 Brewster, Elizabeth. "A Useful Outlet for Poets." Edmonton Journal, 12 Dec. 1969, p. 68. Plainsongs is "the work of a skilled craftswoman" and "'among her best work, more exciting than her recently published Documentaries and on a level with many of the poems in The Unquiet Bed." The poems, though, are "not as spontaneous" as in the latter book.
D52 Vernon, Lorraine. "Communication Quick and Rare." The Vancouver Sun, 9 Jan. 1970, p. 30A. Vernon declares a distaste for "the process of analysis" -- "I only want to feel the rhythms and tones flow out and over me, line by line." The poems combine tones "so soft, yet so strong" and are "urgent, .... too intense to wait."
D53 Ditsky, John. "Books Received." The Canadian Forum, Feb. 1970, p. 271. In reviewing a series of Fiddlehead books, Ditsky contrasts the "sure voices" of Livesay and Fred Cogswell with the "flat undergraduate angst" of the younger poets.
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004010
Record: 38- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Plainsongs (2nd ed.)
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: PLAINSONGS (2nd ed.) (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 194 (1 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Plainsongs (2nd ed.)
Ricketts, Alan (compiler)
D54 Doyle, Mike. "Made in Canada." Poetry [Chicago], 119 (March 1972), 361. Doyle feels that this is the most satisfying of the eight Fiddlehead books briefly discussed. Particular praise is given to the "fine, nervy" qualities of "The Operation."
D55 Bailey, Don. "A Provincial Look at Ten Volumes of Canadian Poetry." Queen's Quarterly, 79 (Summer 1972), 244-45. "They are the most personal poems of hers that I have ever seen. Personal in that tough space-giving way that does not draw you into the pain or grief or even in such a way as you become immersed in it, but allows you the room to absorb the richness of the contact and reflect and digest it in your personal way. In a crazy way it reminded me of the porter who had come in a few minutes before and asked if I'd like my bed prepared. I said no and he left silently, not making me feel as though I had offended him. And I knew he would return."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004011
Record: 39- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Poems for People
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: POEMS for people (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Poems for People
Ricketts, Alan (compiler)
D19 Birney, Earle. "Reviews." Canadian Poetry Magazine, 11, No. 1 (Sept. 1947), 37-38. Birney comments that "as compared with earlier work these poems show an advance in discipline and variation of technique." Her social protests are better because they contain a "richer feeling for man in general and his need, from his earliest days, for tolerance and affection."
D20 Bailey, Alfred G. "New Books." The Dalhousie Review, 27 (Oct. 1947), 383-84. Livesay achieves a "personal idiom which was wrought from her deep sense of human values, a complete absence of sentimentality, and her way of evoking meaning from sharply-defined appearances." This idiom is "accentuated" in this volume, and the work "is more finely etched than before"; but it has less emotional impact than her earlier writing. Some poems are "subtle to the point of obscurity."
D21 Clarke, George Herbert. "Recent Canadian Verse." Queen's Quarterly, 54 (Oct. 1947), 394. The "most striking poems" employ "something from the fabric of prose" and, at times, "tradition and modernity meet, and not as strangers." The sonnets are weak; they suffer from "occasional wavering."
D22 Waddington, Miriam. "Books Received." The Canadian Forum, Oct. 1947, p. 165. The poet has "matured beyond the need to imitate and has assimilated whatever identification she once had into her own strong poetic individuality." Waddington is distressed, though, that Livesay can be "carried away by zeal worthy of a high school debater with its resultant rhetoric." A significant point is that she is also "preoccupied with the problems of expressing and perhaps reconciling, the many-sided feminine self." The ability to live vicariously, as in "The Child Looks Out," is a rare accomplishment for a modern woman writer.
D23 Reaney, James. "Quiet Poetess." The Varsity [Univ. of Toronto], 20 Oct. 1947, p. 5. Reaney discusses the weakness of rhythm, vagueness, and poetic diction m "F D R" and "Page One," but concludes that Poems for People shows "a quiet, minor, sometimes delicious poet, who may be seen as a child, a wife, a lover, a social worker in London, a visitor in Wales, who knows how to write of these various selves in curiously steely, snappy lines. Occasionally she comes to wrack and rum with a line ending .... "
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004003
Record: 40- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Right Hand Left Hand
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: RIGHT hand left hand (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Right Hand Left Hand
Ricketts, Alan (compiler)
D85 Marshall, Joyce. "Remembering Ancestors." Branching Out, 5, No. 2 (1978), 41. Marshall concentrates on the "political and feminist aspects" of the book, which is recommended "to younger readers who may not be too sure of where we were as women then."
D86 Young, Ian. "Dorothy on the Red-Brick Road." Books in Canada, Jan. 1978, p. 24. The book is described as "a valuable document of the Canadian intellectual life in those days, which were among the most engrossing in this country's history." Young is distressed, though, that Livesay's "political education appears to have stalled in the 1930's."
D87 Stevens, Peter. "Documentary Thirties." The Canadian Forum, March 1978, p. 40. The collection is an extension of Livesay's own "documentary genre," but it is "curiously uneven" as no attempt is made to present the material coherently, particularly in terms of her personal life. There is "simplification" and "lack of commentary" which is compounded by silent, unacknowledged editing of earlier articles. In addition, the parallelism between the 1930s and 1960s (which Livesay has stressed elsewhere) is not developed.
D88 Kiverago, Ron A. "Thirties Revisited." Essays on Canadian Writing, No. 10 (Spring 1978), pp. 101-03. Kiverago stresses that the lay-out of the book gives "a strong impression of the 1930's sensibility" and that personal affairs properly give way to public issues as the decade develops in Livesay's poetry. Kiverago argues that Livesay "never allows herself to slip into that jingoistic party-line jargon that appeals to the barely literate." Kiverago also argues that there is "a celebration of the beauty of life that defies the notion of destructive limitations. It is an attitude that ties social and individual struggle together in a cosmos that is benevolent."
D89 Kreisel, Henry. "The Poet as Radical: Dorothy Livesay in the Thirties." CV/II, 3, No. 1 (Winter 1979), pp. 19-21. Livesay is "a poet not satisfied merely to give expression to the private sensibility, to private joys and prorate agonies, but determined to revolve herself in the wider social Issues of her time," the social, economic, and political problems of the Depression and war years. Kreisel describes Livesay's sense of class structure and of being an outsider during her middle-class upbringing and education at Glen Mawr and Trinity College. An interest in Emma Goldman led her into politics, the radical left, and feminism. Her "Pans experience" is "very understated" and she "cannot sustain the idyllic mood," seeing no way out of the European "'mess'" "'but the death and burial of Capitalism.'" By relying on documentaries, Livesay mimmizes "not only the vagaries of memory, but also the natural tendency of writers to re-interpret the past or even consciously or unconsciously, to alter it." Her own poems, articles, short stones, and reportages are set m the context of anonymous photographs and reproductions, so that the " T is submerged, and autobiography becomes documentary." Livesay cites T. S. Eliot, Edith Sitwell, and the French Symbolistes as prime examples of the "'decadence in modern bourgeois poetry.' .... She clearly identifies her own views at the time with those of Leo Kennedy," in that "Bourgeois art.., is dead, and a new proletarian art is in the process of being born." Livesay abandoned "lyric poetry as no longer relevant to the needs of the rimes." The prose in her reportage pieces "is spare and dean, the scenes sharply observed, the characters of the working people ... are caught in a few deft strokes, sympathetically but unsentimentally."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004019
Record: 41- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Selected poems of Dorothy Livesay (1926-1956)
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: SELECTED poems of Dorothy Livesay (1926-1956) (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 190-191 (2 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Selected poems of Dorothy Livesay (1926-1956)
Ricketts, Alan (compiler)
D29 MacLure, Millar. "Turning New Leaves." The Canadian Forum, June 1957, pp. 63-64. Livesay's mythos is "a recurring passion" which is loneliness, "or rather passion which moves from the personal level of loneliness down to the depths of an aloneness beneath personality, down to the centre of being." There is "much to praise and enjoy in almost every poem among the later ones"; the earlier poems "keep saying little important things."
D30 Endicott, Norman. "Poetry Chronicle." The Tamarack Review, No. 4 (Summer 1957), pp. 82-83. The earliest poems are "Fancies" and the second section describes love with "some surprisingly bad adjectives and metaphors." The social poetry is not equal to English political verse. The new attention to personal emotion in the latter poems produces "a jumble of exaltation and forced metaphors which would have to be quoted for their awkwardness to be appreciated." "London, 1946" is "the very epitome of rather self-righteous sincerity, political commonplace and mechanical metaphors."
D31 "Experiments in Verse." The Times Literary Supplement, 4 Oct. 1957, p. 588. Dismisses Selected Poems as too derivative. "One cannot help feeling that the vast empty expanse of Canada is still inimical to the emergence of any powerful individual talent: there are too many faded images, too many borrowed echoes, m this collection as a whole."
D32 Frye, Northrop. "Letters in Canada: 1957. Poetry." University of Toronto Quarterly, 27 (July 1958), 448-50. Frye has "Mixed feelings" towards the collection, but does trace Livesay's development from Imagism, whose "virtues are those of gentle reverie and a relaxed circling movement," to the social passion which "begins to fuse the diction, tighten the rhythm, and concentrate the imagery." Livesay's most distinctive quality "is her power of observing how other people observe, especially children."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004006
Record: 42- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; The Colour of God's Face
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: COLOUR of god's face (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 191 (1 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; The Colour of God's Face
Ricketts, Alan (compiler)
D33 Harder, Helga. "Poetry in Pamphlets." Canadian Literature, No. 26 (Autumn 1965), pp. 79-82. While Livesay's contemporaries have "often turned to mythology for new Imagery," she has "successfully turned to a new environment for hers." The rhythmic power of her verse has been intensified by the influence of African songs and dances. The poetry is "a deliberate fusion of imagism and interpretation, and because this itself is experimental, it demands extreme poetic sensitivity for a unification of the aspects of the particular and the universal which is made possible by such a technique."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004007
Record: 43- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; The Documentaries
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: DOCUMENTARIES (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; The Documentaries
Ricketts, Alan (compiler)
D43 Fetherling, Doug. "Only One Breaks Even." The Globe Magazine [The Globe and Mail], 14 Dec. 1968, p. 24. Fetherling describes the poems as "Immeasurably better than E. J. Pratt's tales about Dunkirk and the Titanic," but he questions whether the poems should be used -- as they are offered -- to be a means of understanding the past. "That's what popular historians are for, not poets."
D44 Weaver, Robert. Rev. of The Documentaries. Toronto Daily Star, 1 Feb. 1969, p. 15. Although "Some of the poems" in the collection "are now dated," this is "a strong book and much of the autobiographical material is both new and interestingly revealing."
D45 Cogswell, Fred. "Reviews." The Fiddlehead, No. 79 (March-April 1969), p. 112. An attempt to trace Livesay's development. The collection reveals an "artistic unity" between her concerns in the 1930s and 1940s, "her humanity," and her "roots in the soils of Manitoba and rural Ontario." He finds the earlier long poems reveal "writing partly in chains" because "stylistically and sometimes emotionally, Miss Livesay was still part of the neat, imagist establishment of lady poets in her own time." The poem "Roots" shows "how she has grown in increasing freedom from the shackles of dogma and form."
D46 Cook, Gregory M. "Book Reviews." Dalhousie Review, 49 (Spring 1969), 143-45. The poems are "documents" written by a "reporter, didactic teacher, and social worker." The book is of "academic importance" because it presents the past through "authenticity of imaginative projection into character, place and mood" in "Ontario" and "Roots."
D47 Stevens, Peter. "Ideas and Icons." Canadian Literature, No. 40 (Spring 1969), pp. 76-78. Although "Day and Night" and "The Outrider" "perhaps over-simplify political positions" and "West Coast .... hovers on the brink of an uneasy and simplified acceptance of the rightness of the war," the collection is "remarkably honest" and "Livesay has never quite been given her due as a significant writer m the development of modern Canadian poetry m English." The two most recent poems in this volume indicate her "honesty of mind and feeling and help to gather together principal facets of her poetic character which has made a real contribution to Canadian poetry."
D48 McQuaig, John. "Books Reviewed." The Canadian Forum, April 1969, pp. 19-20. McQuaig describes the book as an offering of history "in verse and worse."
D49 Hayne, David. "Letters in Canada: 1968. Poetry." University of Toronto Quarterly, 38 (July 1969), 349-50. The book "reveals imagism in an uneasy alliance with social commentary .... [T]he style of these pieces ... is often rough, and one is at times uncomfortably aware of the way in which idioms of social protest pass out of fashion."
D50 Resnick, Philip. "Ontario Story." Canadian Dimension, 6 (July 1969), 38. "Livesay writes in a very traditional style, iambics and all, yet it is somehow very appropriate to the period. The starkness of life called for starkness in form; experiment was the luxury of more prosperous times." "Documentaries does not contain great poetry, but it does contain good poetry, clearly and cleanly expressed. More importantly, it deals with subject matter which is absolutely crucial for any radical poetic or political sensibility, which only infrequently finds its way into Canadian literature."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004009
Record: 44- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; The Raw Edges: Voices from Our Time
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: RAW edges: Voices from our time (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; The Raw Edges: Voices from Our Time
Ricketts, Alan (compiler)
D77 Lewis, Kevin. "Poetry from the Banal to the Sublime." Rev. of The Raw Edges: Voices from Our Time, by Dorothy Livesay; The Visitants, by Miriam Waddington; and Evening Dance of the Grew Flies, by P. K. Page. Quill & Quire, Jan. 1981, p. 35. "All three are at their weakest when they write outside their own experience .... In Livesay's case ... this is, unfortunately, the entire book." Lewis does not like chapbooks and notes that Turnstone has stretched the size of the book to thirteen pages. The dramatic cast of characters is, ostensibly, "to articulate truths on the modern condition of the human race," but the result is "simplistic moralizing delivered in a flat, lifeless poetic language."
D78 Bemrose, John. Rev. of The Raw Edges: Voices from Our Time. The Globe and Mail, 26 Sept. 1981, p. 17. Livesay "feels little hesitation about playing public sage. The Raw Edges is a dense and often beautiful dialogue between Poet, Painter, Sybil, Commoner and Scientist, all having a lively chat about the gloomy future of the world .... The fighting frenzy of Livesay's optimism over the years is genuine. She would have us rise to the goodness -even the greatness -- it is the poet's duty to imagine."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004016
Record: 45- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; The Unquiet Bed
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: UNQUIET bed (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; The Unquiet Bed
Ricketts, Alan (compiler)
D34 Skelton, Robin. "Everything Lives." Canadian Literature, No. 35 (Winter 1967), pp. 91-92. Livesay "has always been one of the least noisy and most perceptive of our poets," and this collection indicates that she is "a poet of real stature whose work can stand up beside that of any other poet in the English speaking world." Skelton believes that the book's minor faults include an occasional thinness and the failure to achieve rhetorical power by "disciplined brevities"; but her love poems are "astonishing in their directness, dignity and sensitivity."
D35 Parr, D. Kermode. "Poetry, Artists and Naturalists." The Atlantic Advocate, June 1967, p. 72. "In movie jargon the book would have to be rated 'for adults only.'" The review does comment, though, on Livesay's claim for a new direction: "[I]n the innocence of an older generation I had believed that practically all poems written in the past few thousand years had been intended by their makers to be read aloud, but today's poets must be lust rediscovering this aim."
D36 Thompson, Kent. "Reviews." The Fiddlehead, No. 73 (Summer 1967), pp. 79-83. Thompson distinguishes between the poets of the West Coast (who are dominated by "immediacy") and the poems of the East Coast (which are "organic" in organization and deal with "the force of the landscape"). He argues that Livesay's poetry combines both approaches, being "both immediate and crafted"; she "cannot be tied to any school of poets." She "seems to have allowed the poems to make their own demands, and she has not imposed patterns on either her poetic craft or her eyesight, which is why, I think, the poems are so successful."
D37 Barbour, Douglas. "Book Reviews." Quarry, 17, No. 2 (Winter 1968), 46-47. The young West Coast poets and their American tutors have influenced her recent verse to create "a poetry tough and taut yet lyrical and singing." Livesay's own long experience of writing has given her a "much better sense of the lyrical value of language than most of her new mentors," making her poetry "loose and rhythmically free, but still controlled and sure."
D38 Hoffman, Stanton. "Three Canadian Poets." Canadian Dimension, 5, Nos. 2-3 (Jan.-March 1968), 50-52. Her voice is "not literary and disembodied," but "real, human, personal, individual, physical." The experience of love is present as "a dramatic whole" through its various stages of "surrender, passivity, need, delight, compulsion, resistance, violence, renewal, gentleness, and so on."
D39 Purdy, Al. "Reviews." The Tamarack Review, No. 47 (Spring 1968), pp. 88-89. Purdy dismisses her earlier poems as "dull, despite all the sweet, nice things said about them" and considers Livesay to be a "much better and more human poet now." These later verses "strike a wise, witty, and warm counterpoint to the woman herself."
D40 Helwig, David. "Poetry East, West and Centre." Queen's Quarterly, 75 (April 1968), 530-36. Helwig attacks the West Coast poets, arguing that "the strengths of the book belong to Dorothy Livesay rather than to her new allegiance." He concentrates on two "intensely felt personal poems," finding lines which are "bland and portentous" and others which are "vital and surprising."
D41 Pacey, Desmond. "Books Reviewed." The Canadian Forum, April 1968, pp. 21-22. This is "a rich and vital book which proves beyond a shadow of a doubt that poetry is not a peculiar secretion of adolescence but pre-eminently an expression of mature humanity." Pacey notes both an "almost frightening vitality" and "a quieter, wiser, sadder note" by a woman who sees "the best poetry not as words on a page but as living speech." She is "as impassioned an amorist and as frank an emotional autobiographer" as anyone.
D42 MacCallum, Hugh. "Letters in Canada: 1967. Poetry." University of Toronto Quarterly, 37 (July 1968), 368-69. The serial poem (which MacCallum sees as an influence m the book) is considered as an extension of Imagism, although it is more complex and longer. New styles "make new, and sometimes unexpected demands on subject matter, and Dorothy Livesay's experiments are not all equally satisfying." She is "a poet of intense moments," but less successful in presenting human figures or social themes. "It is the isolated image that stirs the imagination" in her work.
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004008
Record: 46- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; The Woman I Am: Best Loved Poems from One of Canada's Best Loved Poets
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: WOMAN I am: Best loved poems from one of Canada's best loved poets (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; The Woman I Am: Best Loved Poems from One of Canada's Best Loved Poets
Ricketts, Alan (compiler)
D73 Aubert, Rosemary. Rev. of The Woman I Am: Best Loved Poems from One of Canada's Best Loved Poets. Quill & Quire, Dec. 1977, p. 34. "'Undoubtedly, the advantage of covering such a time span in one volume is that one can gauge development, improvement, and change of viewpoint. The fact is that the excellence of most of these poems distracts the reader into regarding each for its own unique value. "The unifying factor of the selection is womanhood in all its different aspects. Livesay is grand- daughter in 'Green Ram' and grandmother in 'The High.' She is a young mother running after a child in 'The Mother' and a far more subtle and sophisticated mother In 'Parenthood." She is wife, widow, friend, lover, and, in old age, she is loverless, but she is always a poet relating experience with humanness. Perhaps, ultimately, that is what she sees as the bond between the sexes."
D74 Morton, Mary Lee. "Livesay Distorted." Branching Out, 5, No. 3 (1978), 41. "One extremely important aspect of Livesay's personality -- her involvement in social issues and her devotion to justice -- is almost completely missing from this Selection." Despite the absence of "the political Livesay," the book's "chronological divisions show the growing uniqueness of Livesay's voice, from the naive, occasionally gushing girl to the spare, strong old woman."
D75 Jewinski, Hans. "... They Licked the Platter Clean." Books in Canada, Jan. 1978, p. 26. "In the book she [Livesay] thanks several people for helping her develop as a person and as a poet. It is too bad that none of them (presumably) was able to read this book m manuscript and save her from herself .... Most of the selections have a strong beginning but no satisfactory end, and in one after another she is childish, silly, and mawkish."
D76 Fletcher, Peggy. "The Printed Page Their Classroom." Canadian Author & Bookman, July 1978, pp. 42-43. Fletcher believes that Livesay's is "a penetrating voice for both sexes who share grief and joy." She argues that while Livesay "has recently been dubbed as a feminist poet ... her responses are removed from a stereotypical viewpoint."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004015
Record: 47- Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews; Woman's Eye: 12 B.C. Poets
- Other Title:
- Part 2 Works On Dorothy Livesay; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Ricketts, Alan (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: LIVESAY, Dorothy; LIVESAY, Dorothy -- Criticism & interpretation -- Bibliography
Titles critiqued: WOMAN'S eye: 12 b.c. poets (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricketts, Alan (compiler) Part 2: Works On Dorothy Livesay.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 169-201)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04DLP2
p. 200-201 (2 p.) - Links:
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Source: Part 2: Works On Dorothy Livesay. Ricketts, Alan (compiler); Toronto, Ontario : ECW Press, 1983, pp. 169-201
Part 2 Works On Dorothy Livesay; Selected book reviews; Woman's Eye: 12 B.C. Poets
Ricketts, Alan (compiler)
D94 Gasparini, Len. "Mythopoeic Hits and Ms." Books in Canada, Jan. 1975, pp. 21-22. "There are so many good poems in Woman's Eye that space does not permit me to mention all of them .... The rhythmic life-cycle, the eternal ovum underlies everything in this anthology .... In one way or another, what these poets seem to be driving at is the notion that men should likewise suffer the wound of menstruation." Woman's Eye "is an engrossing collection."
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Source: Ricketts, Alan (compiler); . Part 2: Works On Dorothy Livesay, Toronto, Ontario : ECW Press, 1983. pp. 169-201 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04DLP2.
Item Number: ABCMA04DLP2000004002004022
Record: 48- Title:
- Part 2 Works On Earle Birney; Selected book reviews; 20th Century Canadian Poetry: An Anthology
- Other Title:
- Part 2 Works On Earle Birney; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Noel-Bentley, Peter (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: BIRNEY, Earle; BIRNEY, Earle -- Criticism & interpretation -- Bibliography
Titles critiqued: 20TH century Canadian poetry: An anthology (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Noel-Bentley, Peter (compiler) Part 2: Works On Earle Birney.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 68-124)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04EBP2
p. 123-124 (2 p.) - Links:
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Source: Part 2: Works On Earle Birney. Noel-Bentley, Peter (compiler); Toronto, Ontario : ECW Press, 1983, pp. 68-124
Part 2 Works On Earle Birney; Selected book reviews; 20th Century Canadian Poetry: An Anthology
Noel-Bentley, Peter (compiler)
D143 B., A. R. Rev. of 20th Century Canadian Poetry: An Anthology. The Dalhousie Review, 33 (Winter 1953-54), xxx-xxxl. A positive review which says that "many penetrating and stimulating questions are raised" in the notes; "the reader becomes aware of the diversity and richness of Canadian poetry."
D144 Pacey, Desmond. Rev. of 20th Century Canadian Poetry: An Anthology. The Fiddlehead, No. 20 (Feb. 1954), pp. 17, 19. The volume is "hastily and casually assembled: it contains several glaring inaccuracies, and its choice of poems is arbitrary and unrepresentative." Pacey objects to the arrangement of poems by subject matter; and challenges the meaning of the subject headings. He also objects to the number of poets included -- "no less than seventy individual poets ... , though it is doubtful whether there have been twenty poets worthy of the name in Canada in the last fifty years." Pacey does not even like the selections from individual poets, the introduction, or the biographical notes ("occasionally even plain wrong"). The "critical notes ... [are] the most valuable part of the book. When Birney ventures into explication, he is uniformly helpful."
D145 Dudek, Louis. "Turning New Leaves." The Canadian Forum, March 1954, p. 280. Dudek quarrels with the selection of poets, the sub-divisions, and the end-notes. "Mr. Birney's division of poetry into Canadian subject categories displays a naive nationalistic approach which is surprising in so good a poet and critic. Our anthologists should take our literature more seriously than to dress it In this fashion in condescension to a popular audience or the would-be needs of the classroom."
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Source: Noel-Bentley, Peter (compiler); . Part 2: Works On Earle Birney, Toronto, Ontario : ECW Press, 1983. pp. 68-124 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04EBP2.
Item Number: ABCMA04EBP2000004001004025
Record: 49- Title:
- Part 2 Works On Earle Birney; Selected book reviews; Lunar Caustic
- Other Title:
- Part 2 Works On Earle Birney; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Noel-Bentley, Peter (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: BIRNEY, Earle; BIRNEY, Earle -- Criticism & interpretation -- Bibliography
Titles critiqued: LUNAR caustic (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Noel-Bentley, Peter (compiler) Part 2: Works On Earle Birney.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 68-124)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04EBP2
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Source: Part 2: Works On Earle Birney. Noel-Bentley, Peter (compiler); Toronto, Ontario : ECW Press, 1983, pp. 68-124
Part 2 Works On Earle Birney; Selected book reviews; Lunar Caustic
Noel-Bentley, Peter (compiler)
D147 Kilgallin, Tony. "Lowry Posthumous." Rev. of Lunar Caustic and Dark as the Grave Whereto My Friend is Lard, by Malcolm Lowry. Canadian Literature, No. 39 (Winter 1969), pp. 80-83. "With his [Lowry's] dead hand upon them, Margerie Lowry and Earle Birney have reproduced in this Cape Edition of Lunar Caustic the text they edited for The Parts Review in 1963."
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Source: Noel-Bentley, Peter (compiler); . Part 2: Works On Earle Birney, Toronto, Ontario : ECW Press, 1983. pp. 68-124 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04EBP2.
Item Number: ABCMA04EBP2000004001004027
Record: 50- Title:
- Part 2 Works On Earle Birney; Selected book reviews; Selected Poems of Malcolm Lowry
- Other Title:
- Part 2 Works On Earle Birney; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Noel-Bentley, Peter (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: BIRNEY, Earle; BIRNEY, Earle -- Criticism & interpretation -- Bibliography
Titles critiqued: SELECTED poems of Malcolm Lowry (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Noel-Bentley, Peter (compiler) Part 2: Works On Earle Birney.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 68-124)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Source: Part 2: Works On Earle Birney. Noel-Bentley, Peter (compiler); Toronto, Ontario : ECW Press, 1983, pp. 68-124
Part 2 Works On Earle Birney; Selected book reviews; Selected Poems of Malcolm Lowry
Noel-Bentley, Peter (compiler)
D146 Bromige, David. Rev. of Selected Poems of Malcolm Lowry. Northwest Review [Univ. of Oregon], 6, No. 1 (Winter 1963), 113-15. "Lowry's voice is in nearly all of them [poems], speaking with a compelling directness that overrides rhythmical flaws, and roars over line-ends like rapids over rocks."
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Source: Noel-Bentley, Peter (compiler); . Part 2: Works On Earle Birney, Toronto, Ontario : ECW Press, 1983. pp. 68-124 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04EBP2.
Item Number: ABCMA04EBP2000004001004026
Record: 51- Title:
- Part 1 Works By A.J.M. Smith; Books; Addresses
- Other Title:
- Part 1 Works By A.J.M. Smith; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP1
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Books; Addresses
Burke, Anne (compiler)
A14 The University of New Brunswick: Founders' Day Address. Preface D.L. MacLaren. Fredericton: Univ. of New Brunswick, 1946. 19 pp. See B437.
A15 Canadian Literature of Today and Tomorrow. N.p.: n.p., [1947]. 8 pp. "From the Proceedings of the 1947 Conference of the Canadian Library Association ...." (See B438.)
A16 Some Poems of E. J. Pratt: Aspects of Imagery and Theme. The Pratt Lecture. Memorial Univ. of Newfoundland. Toronto: Univ. of Toronto Press, 1969. 20 pp. See B448.
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
Item Number: ABCMA04ASP1000004004001003
Record: 52- Title:
- Part 1 Works By A.J.M. Smith; Books; Books edited
- Other Title:
- Part 1 Works By A.J.M. Smith; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP1
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Books; Books edited
Burke, Anne (compiler)
A17 --, Introd. The Book of Canadian Poetry: A Critical and Historical Anthology. Chicago: Univ. of Chicago Press, 1943. xxiv, 486 pp.
Toronto: Gage, 1943. xvii, 452 pp.
Chicago: Univ. of Chicago Press, 1948. XXIV, 486 pp.
Toronto: Gage, 1948. xxiv, 486 pp.
Toronto: Gage, 1957. xxv, 532 pp.
A18 Seven Centuries of Verse: English and American: From the Early English Lyrics to the Present Day. New York: Scribners, 1947. xxxii, 671 pp.
New York: Scribners, 1957. xxxix, 778 pp.
New York: Scribners, 1967. xxxvii, 818 pp.
A19 --, introd. The Worldly Muse: An Anthology of Serious Light Verse. New York: Abelard, 1951. xxviii, 388 pp.
Toronto: McLeod, 1951. xxviii, 388 pp. Most of the copies were destroyed in a warehouse fire.
A20 --, and M.L. Rosenthal, introd. Preface A.J.M. Smith and M.L. Rosenthal. Exploring Poetry. New York: Macmillan, 1955. xli, 758 pp.
Toronto: Collier-Macmillan, 1955. xli, 758 pp.
New York: Macmillan, 1973. xxvii, 531 pp.
Toronto: Collier-Macmillan, 1973. xxvii, 531 pp. With notes by A. J. M. Smith and M. L. Rosenthal.
A21 --,and F.R. Scott, eds. and introd. The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadian Writers. Preface David L. Thomson. Toronto: Macmillan, 1957. xix, 138 pp.
Toronto: Macmillan, 1967. xx, 166 pp. With notes by A. J. M. Smith and F. R. Scott. The Preface by Thomson was not reprinted in the 1967 edition.
A22 --, introd. The Oxford Book of Canadian Verse: In English and French. Toronto: Oxford Univ. Press, 1960. lvi, 445 pp. See A12: the Introduction is retitled "A Brief History of Canadian Poetry" when reprinted.
A23 --, introd. Masks of Fiction: Canadian Writers on Canadian Prose. New Canadian Library Original, No. O2. Toronto: McClelland and Stewart, 1961. xi, 162 pp.
A24 --, introd. Masks of Poetry: Canadian Critics on Canadian Verse. New Canadian Library Original, No. O3. Toronto: McClelland and Stewart, 1962. xi, 143 pp.
A25 --, introd. The Book of Canadian Prose: Early Beginnings to Confederation. Vol. I. Toronto: Gage, 1965. xxii, 261 pp.
Rpt. The Colonial Century: English-Canadian Writing before Confederation. Vol. 1 of The Book of Canadian Prose. Toronto: Gage, 1973. XXII, 261 pp. See A12.: the Introduction is retitled "Prose of the Colonial Period" when reprinted.
A26 Essays for College Writing. New York: St. Martin's, 1965. xi, 417 pp.
A27 --, introd, 100 Poems. New York: Scribners, 1965. xviii, 201 pp.
Granger Index Reprint Series. Freeport, N.Y.: Books for Libraries, 1965. xviii, 201 pp. Contains a glossary by Smith.
A28 --, introd. Modern Canadian Verse: In English and French. Toronto: Oxford Univ. Press, 1967. xxvi, 426 pp.
A29 --, introd, and Preface. The Collected Poems of Anne Wilkinson, and a Prose Memoir. New York: St. Martin's, 1968. xxi, 212 pp.
Toronto: Macmillan, 1968. xxi, 212 pp.
A30 --, introd. The Canadian Century: English-Canadian Writing since Confederation. [Vol. II of The Book of Canadian Prose.] Toronto: Gage, 1973. xx, 652 pp.
A31 --, introd. The Canadian Experience: A Brief Survey of English-Canadian Prose. Agincourt, Ont.: Gage, 1974. xix, [300] pp. The contents are selected from The Book of Canadian Prose, 2 vols.
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
Item Number: ABCMA04ASP1000004004001004
Record: 53- Title:
- Part 1 Works By A.J.M. Smith; Books; Criticism
- Other Title:
- Part 1 Works By A.J.M. Smith; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP1
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Books; Criticism
Burke, Anne (compiler)
A9 "The Poetry of W. B. Yeats." M.A. Thesis McGill 1926.
A10 "Studies in the Metaphysical Poets of the Anglican Church in the Seventeenth Century." Diss. Edinburgh 1931.
A11 The Poetry of Robert Bridges. Montreal: Burton's, [1932?]. 15 pp. Distributed by Burton's Book Store.
A12 Towards a View of Canadian Letters: Selected Critical Essays 1928-1971. Vancouver: Univ. of British Columbia Press, 1973. xi, 230 pp. Includes "A Brief History of Canadian Poetry." (A22), "The Canadian Poet: After Confederation" (B348), "Canadian Poetry -- A Minority Report" (B311), "The Canadian Poet: To Confederation" (B347), "Colonialism & Nationalism in Canadian Poetry before Confederation" (B436), "Critical Improvisations on Margaret Avison's Winter Sun" (B422), "Earle Birney: A Unified Personality" (B343), "Eclectic Detachment: Aspects of Identity in Canadian Poetry" (B443), "The Fredericton Poets" (B437), "F.R. Scott and Some of His Poems" (B345), "Impromptu Remarks Spoken at the International Poetry Conference, Man and His World" (B447), "Poet" (B439), "The Poetic Process: On the Making of Poems" (B446), "The Poetry of Duncan Campbell Scott" (B320), "The Poetry of P. K. Page" (B357), "Prose of the Colonial Period" (A25), "A Reading of Anne Wilkinson" (B333), "A Rejected Preface to ,New Provinces, 1936'' (B340), "A Self-Review" (B334), "Some Poems of E.J. Pratt: Aspects of Imagery and Theme" (B448), "A Summing-Up" (B315), "A Survey of English-Canadian Letters -- A Review" (B428), and "Wanted -- Canadian Criticism" (B307).
A13 --,introd. On Poetry and Poets: Selected Essays of A. J. M. Smith. New Canadian Library, No. 143. Toronto: McClelland and Stewart, 1977. ix, 122 pp. Includes "Canadian Anthologies New and Old (1942)" (B314), "The Confessions of a Compulsive Anthologist (1976)" (B450), "Critics and Biographers: A Review (1944)" (B413), "The Devil Take Pier -- And Them (1962)" (B172), "A Garland for E. J. Pratt (1958)" (B329), Introduction, "Introduction to The Blasted Pine (1957)" (A21), "Introduction to The Book of Canadian Poetry (1943)" (A17), "The Poet and the Nuclear Crisis (1965)" (B444), "Poet in Residence, Bishop's University: For Ralph Gustafson (1965)" (B187), "The Poetics of Alfred Bailey (1974)" (B431), "The Poetry of Duncan Campbell Scott (1948)" (B320), "The Refining Fire: The Meaning and Use of Poetry (1954)" (B327), "A Salute to Layton: In Praise of his Earliest Masterpieces (1956)" (B421), "Stanzas Written on First Looking into Johnston's Auk (1959)" (A6), "To Frank Scott, Esq. On the Occasion of his Seventieth Birthday (1969)" (B189), and "To Jay Macpherson, on Her Book of Poems (1958)" (B165).
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
Item Number: ABCMA04ASP1000004004001002
Record: 54- Title:
- Part 1 Works By A.J.M. Smith; Books; Manuscripts
- Other Title:
- Part 1 Works By A.J.M. Smith; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP1
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Books; Manuscripts
Burke, Anne (compiler)
A32 The A. J. M. Smith Collection, Bata Library, Trent University, Peterborough, Ontario
The A.J.M. Smith Collection has been divided into archives material and separately housed books and periodicals. There are draft manuscripts of poems, critical articles, reviews, lectures, a copy of Smith's dissertation, translations, off-prints of Smith's essays, review clippings, honorary degrees, tapes of poetry readings, and a good deal of correspondence. Of particular interest are the unpublished stories. There are approximately 1200 volumes in the book section, mainly presentation copies from twentieth-century Canadian poets and annotated copies of Smith's books. There are also many rare nineteenth-century holdings, privately printed editions of Smith's poems, and complete or broken runs of English, American, and Canadian periodicals. A preliminary inventory has been prepared:
B-78-007/(1-10); 2(1-9): Correspondence 1927-78 in alphabetical order.
- 3(1-8): Review correspondence and clippings about The Book of Canadian Poetry: A Critical and Historical Anthology, News of the Phoenix and Other Poems, Modern Canadian Verse: In English and French, and Collected Poems.
- 4(1-16): Reviews and correspondence about The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadian Writers, The Book of Canadian Prose: Early Beginnings to Confederation (Vol. I), The Oxford Book of Canadian Verse: In English and French; clippings extracted from the A.J.M. Smith Collection of Canadiana.
- 5(1-33): Drafts of poems, anthologies, and essays by A. J. M. Smith; tape recordings of readings.
- 6(1-7): Selection of essays about Smith.
- 7(1-7): Honorary degrees.
Appendix 1: List of extracted letters and reports.
Appendix 2: List of extracted clippings.
Appendix 3: List of extracted poetry.
Appendix 4: List of extracted research notes.
Appendix 5: List of extracted photographs and pictures.
Recent additions to the collection:
- 80-005/1; 1(1-14): Letters from Allen Latham, George W. Latham, Douglas C. Adam, E. A. Forsey, H. J. C. Grierson, A.M. Klein, Leon Edel, Louis Schwartz, Leo Kennedy, Sandra Djwa, and alphabetical correspondence from D-H.
- 2(1-14): Alphabetical correspondence from I-M and N-Z. Miscellaneous personal letters and other papers.
- 3(1-14): Drafts of The Book of Canadian Poetry: In English and French, and copies of his M.A. thesis and Ph.D. dissertation.
- 4(1-9): Presentation copies by other authors.
A33 A.J.M. Smith Papers, Thomas Fisher Rare Book Library, University of Toronto, Toronto, Ontario
The Thomas Fisher Rare Book Library at the University of Toronto holds the Smith manuscripts and materials. The collection spans Smith's career from 1924 to 1965. Among the manuscripts are incomplete poems and poem fragments, notes for "The Poet and the Nuclear Crisis" and for "The Poetic Process: Of the Making of Poems," and drafts of the Canadian anthologies and of Smith's books of poems.
The page proofs of The Oxford Book of Canadian Verse: In English and French, News of the Phoenix and Other Poems, and Collected Poems are available. The papers also contain correspondence from over 250 writers and publishers, chiefly concerning the publication of Smith's anthologies. Manuscripts by other authors include Ross Fraser Donald, Theodore Goodridge Roberts, Charles W. Jefferys, Stephen Leacock, Malcolm Lowry, Howard O'Hagan, and W.W.E. Ross. These manuscripts contain a few holographic comments, mostly by the authors, but some by Smith. An entire file of material remains restricted at Smith's request.
Boxes 1-2: Correspondence.
Box 3: Manuscripts.
Box 4: Periodicals.
Box 5: Essays by Smith.
Box 6: Restricted file (letters to Smith).
Note: There are other collections in the Thomas Fisher Rare Book Library which should be noted for their select Smith holdings:
Margaret Atwood Papers
Correspondence between Smith and Atwood, 30 Oct. 1966-6 Jan. 1967.
Earle Birney Papers
Correspondence between Smith and Birney, 30 April 1942-22. March 1967.
A34 Rare Books and Special Collections Department, McLennan Library, McGill University, Montreal, Quebec
The Rare Book Room at McGill has complete holdings of the McGill Daily, McGill Daily Literary Supplement, and McGill Fortnightly Review. The McLennan Library also has The Canadian Mercury, 1928-29.
A35 Public Archives of Canada, Ottawa, Ontario
In the Archives at the National Library there are some collections which should be noted for their select holdings of Smith material:
Patrick Anderson Papers
Letters between Smith and Anderson, 22 Jan. 1943-45.
John Glassco Papers
There is correspondence between Glassco and Smith from 1963-64 regarding the Foster Poetry Conference, a poem by Glassco, "To A. J. M. Smith on His Change of Residence 1966," and correspondence about the French translations by Rina Lasnier of "I Shall Remember," "Journey," "Like an Old Proud King in a Parable," "Shadows There Are," "To a Young Poet," and "News of the Phoenix."
A. M. Klein Collection
Contains letters between Smith and Klein, 12 Jan. 1943-1 May 1948.
A36 The Theodore Roethke Papers, The Suzzalo Library, University of Washington, Seattle, Washington
The Theodore Roethke Papers include letters from Roethke to Smith, 14 July-2 June 1960; letters from Smith to Roethke 1944-62; two letters by Smith about Roethke; interviews conducted by Allen Seager for The Glass House at The Bancroft Library at the University of California, Berkeley; recordings by Smith and others about Roethke.
A37 Archives, Douglas Library, Queen's University, Kingston, Ontario
The Queen's University Archives contains the following correspondence:
Alan Crawley Papers
Letters from 5 Jan. 1948-6 May 1948.
Dorothy Livesay Papers
Letters from 14 March 1942-9 Dec. 1966.
A38 Department of Rare Books and Special Collections, University of Calgary Library, University of Calgary, Calgary, Alberta
The Department of Rare Books and Special Collections holds letters of Smith to Malcolm Ross about Ross's "Redeeming the Time," and On Poets and Poetry: Selected Essays of A.J.M. Smith.
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
Item Number: ABCMA04ASP1000004004001005
Record: 55- Title:
- Part 1 Works By A.J.M. Smith; Books; Poetry
- Other Title:
- Part 1 Works By A.J.M. Smith; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP1
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Books; Poetry
Burke, Anne (compiler)
[underbar]
A1 News of the Phoenix and Other Poems. New York: Coward-McCann, 1943. 42 pp.
Toronto: Ryerson, 1943. 42 pp. The Ryerson design was by Thoreau MacDonald. Includes "The Archer" (B127), "Beside One Dead" (B91), "Calvary" (B117), "Chorus" (B121), "The Creek" (B100), "The Cry" (B134), "Epitaph" (B53), "The Face" (B122), "'The Faithful Heart" (B130), "Far West" (B129), "For Healing" (B69), "The Fountain" (B111), "Good Friday" (B102), "Hellenica" (B26), "A Hyacinth for Edith" (B85), "In the Wilderness" (B104), "I Shall Remember" (B38), "'Journey" (B66), "Like an Old Proud King in a Parable" (B101), "The Lonely Land" (B54), "News of the Phoenix" (B109), "Noctambule" (B116), "Ode: On the Death of W.B. Yeats" (B133), "Ode: The Eumenides" (B136), "The Offices of the First and the Second Hour" (B110), "On Reading an Anthology of Popular Poetry" (B131), "The Plot against Proteus" (B108), "Poor Innocent" (B123), "A Portrait, and a Prophecy" (B132), "Prothalamium" (B98), "Sea Cliff" (B105), "Shadows There Are" (B96), "The Shrouding" (B65), "A Soldier's Ghost" (B114), "Son-and-Heir" (B118), "Swift Current" (B106), "To a Young Poet" (B115), "To the Christian Doctors" (B126), and "The Two Sides of a Drum" (B78).
A2 Selected Profane Verse & Sacred Poetry of A. J. M. Smith. East Lansing, Mich.: Johnson Head, 1946. 20 leaves. "Pirated" by Johnson Head. What is apparently the only copy, at Trent University, bears Smith's signature. Includes "Ballade un peu banale" (B68) and "Good Friday" (B102).
A3 The Archer. East Lansing, Mich.: Calligraphia, 1954. [8] pp. Designed, hand set, and printed by Justine Ray and Betty Murphy. Etching by Victor Croftchik. Includes "The Archer" (B127).
A4 A Sort of Ecstasy. Poems: New and Selected. East Lansing, Mich.: Michigan State College Press, 1954. 55 pp.
Toronto: Ryerson, 1954. 55 pp. Includes "The Archer" (B127), "Bird and Flower" (B139), "The Bridegroom" (B128), "Brigadier" (B241), "Business as Usual: 1946" (B142), "Chinoiserie," "The Circle" (B103), "The Common Man" (B140), "The Creek" (B100), "The Dead" (B141), "A Dream of Narcissus" (B145), "Fear as Normal: 1954," "Field of Long Grass" (B92), "Hellenica" (B26), "A Hyacinth for Edith" (B85), "The Lonely Land" (B54), "The Mermaid" (B62), "Noctambule" (B116), "No Treasure," "Ode: On the Death of William Butler Yeats" (B133), "Ode: The Eumenides" (B136), "The Plot against Proteus" (B108), "Political Intelligence" (B125), "A Portrait, and a Prophecy" (B132), "Quietly to Be Quickly, or Other or Ether, a Song or a Dance" (B120), "Resurrection of Arp" (B112), "Sea Cliff"(B105), "A Soldier's Ghost" (B114), "The Sorcerer" (B46), "Souvenirs du Temps Perdu" (B143), "Swift Current" (B106), "To Anthea," "To Hold in a Poem" (B42), "Tree" (B144), "Universe into Stone" (B32), and "With Sweetest Heresy" (B137).
A5 Universe into Stone. East Lansing, Mich.: Calligraphia, 1954. [8] pp. Designed, hand set, and printed by Tama Root and Jean Trudell. Etching by Donna Diamond. Includes "Universe into Stone" (B32).
A6 Collected Poems. Toronto: Oxford Univ. Press, 1962. [128] pp. Includes "The Archer" (B127), "Astraea Redux: Keewaydin Poetry Conference" (B146), "At Twenty-Six," "Ballade un peu banale" (B68), "Beside One Dead" (B91), "The Bird" (B67), "Bird and Flower" (B139), "The Bridegroom" (B128), "Brigadier" (B241), "Business as Usual: 1946" (B142), "Calvary" (B117), "Canticle of St John," "Chinoiserie," "Choros" (B121), "The Circle" (B103), "The Common Man" (B140), "The Convolvulus" (B155), "The Creek" (B100), "The Crows" (B113), "The Cry" (B134), "The Dead" (B141), "A Dream of Narcissus" (B145), "Eden's Isle" (B148), "Epitaph" (B53), "The Faithful Heart" (B130), "Far West" (B229), "Fear as Normal: 1954"' (A4), "Field of Long Grass" (B92), "For Healing" (B69), "The Fountain" (B111), "Good Friday" (B102), "Hellenica I, II" (B26), "A Hyacinth for Edith" (B85), "In the Wilderness" (B104), "I Shall Remember" (B38), "Journey" (B66), "Like an Old Proud King in a Parable" (B101), "The Lonely Land" (B54), "May Song" (B244), "The Mermaid" (B62), "My Death" (B161), "A Narrow Squeak: Variations on a Theme of Anne Wilkinson" (B154), "News of the Phoenix" (B109), "Nightfall: Fin de siecle" (B97), "Noctambule" (B116), "No Treasure," "Ode: On the Death of William Butler Yeats" (B133), "Ode: The Eumenides" (B136), "The Offices of the First and the Second Hour" (B110), "One Sort of Poet," "On Knowing Nothing" (B147), "On Reading an Anthology of Popular Poetry" (B131), "Pagan" (B23), "Pastel" (B245), "A Pastoral" (B160), "The Plot against Proteus" (B108), "Political Intelligence" (B125), "Poor Innocent" (B123), "A Portrait, and a Prophecy" (B132), "Prothalamium" (B98), "Quietly to Be Quickly or Other or Ether: A Song or a Dance" (B120), "Resurrection of Arp" (B112), "Sea Cliff" (B105), "Shadows There Are" (B96), "The Shrouding" (B65), "A Soldier's Ghost" (B114), "Son-and-Heir: 1930" (B118), "Song Made in Lieu of Many Ornaments" (B162), "The Sorcerer" (B46), "Souvenirs du temps perdu" (B143), "Speaking about Death: Blues for Mentor Williams" (B163), "The Stallions," "Stanzas Written on First Looking into Johnston's Auk," "The Swan and the Dove" (B170), "Swift Current" (B106), "They Say" (B50), "This Flesh Repudiates the Bone" (B150), "Thomas Moore and Sweet Annie" (B156), "Three Phases of Punch" (B56), "To Anthea," "To a Young Poet" (B115), "To Henry Vaughan" (B164), "To Hold in a Poem" (B42), "To Jay Macpherson on Her Book of Poems" (B165), "To the Christian Doctors" (B126), "To the Haggard Moon" (B157), "The Trance," "Tree" (B144), "The Two Birds" (B81), "The Two Sides of a Drum" (B78), "Universal Peace: 19 -- ," "Universe into Stone" (B32), "Le Vierge, Le Vivace et Le Bel Aujourd'hui" (B159), "What Is That Music High in the Air?" (B151), "What Strange Enchantment" (B47), "What the Emanation of Casey Jones Said to the Medium" (B152), "When I Was a Thrush," "Wild Raspberry" (B158), "The Wisdom of Old Jelly Roll" (B195), and "With Sweetest Heresy" (B137).
A7 Poems: New and Collected. Oxford in Canada Paperback Series, No. 10. Toronto: Oxford Univ. Press, 1967. 160 pp. Includes "The Adolescence of Leda" (B176), "The Archer" (B127), "Astraea Redux: Keewaydin Poetry Conference" (B146), "At Twenty-six" (A6), "Ballade un peu banale" (B68), "Beside One Dead" (B91), "Birches at Drummond Point" (B188), "The Bird" (B67), "Bird and Flower" (B139), "The Bridegroom" (B128), "Brigadier" (B241), "Business as Usual 1946" (B142), "Calvary" (B217), "Canncle of St John" (A6), " Chinoiserie," "Choros" (B121), "The Circle" (B103), "The Common Man" (B140), "The Convolvulus" (B155), "The Country Lovers," "The Creek" (B100), "The Crows" (B113), "The Cry" (B134), "The Dead" (B141), "The Devil Take Her -- and Them" (B172), "A Dirge for Gordon Dundas," "A Dream of Narcissus" (B145), "Eden's Isle" (B148), "Epitaph" (B53), "The Faithful Heart" (B130), "Far West" (B129), "Fear as Normal 1954" (A4), "Field of Long Grass" (B92), "For Healing" (B69), "The Fountain" (B111), "Good Friday" (B102), "Hellenica" (B26), "The Hippopotamus" (B247), "The Hunter," "A Hyacinth for Edith" (B85), "An Iliad for His Summer Sweetheart" (B177), "In Memoriam: E. J. P." (B181), "In the Churchyard at South Durham, Quebec" (B95), "In the Wilderness" (B104), "I Shall Remember" (B38), "Journey" (B66), "Like an Old Proud King in a Parable" (B101), "A Little Night Piece" (B183), "The Lonely Land" (B54), "May Song" (B244), "The Mermaid" (B62), "Metamorphosis" (B150), "My Death" (B161), "My Lost Youth" (B88), "A Narrow Squeak: Variations on a Theme of Anne Wilkinson" (B154), "News of the Phoenix" (B109), "Nightfall: Fin de siecle" (B97), "Noctambule" (B116), "No Knife Needed" (B179), "No Treasure" (A6), "Ode: On the Death of William Butler Yeats" (B133), "Ode: The Eumenides" (B136), "The Offices of the First and the Second Hour" (B110), "One Sort of Poet" (A6), "On Knowing Nothing" (B147), "On Reading an Anthology of Popular Poetry" (B131), "On the Appointment of Ralph Gustafson, Esq., as Poet in Residence at Bishop's University" (B184), "Pagan" (B23), "Pastel" (B245), "A Pastoral" (B160), "Perdrix" (B248), "The Plot Against Proteus" (B108), "Political Intelligence" (B125), "Poor Innocent" (B123), "A Portrait, and a Prophecy" (B132), "Prothalamium" (B98), "Quietly to Be Quickly or Other or Ether: A Song or a Dance" (B120), "Resurrection of Arp" (B112), "Sea Cliff" (B105), "Shadows There Are" (B96), "The Ship of Gold," "The Shrouding" (B65), "A Soldier's Ghost" (B114), "Son-and-Heir: 1930" (B118), "Song: Made in Lieu of Many Ornaments" (B162), "The Sorcerer" (B46), "Souvenirs du temps bien perdu" (B185), "Souvenirs du temps perdu" (B143), "Speaking about Death: Blues for Mentor Williams" (B163), "The Stallions" (A6), "Stanzas Written on First Looking into Johnston's Auk" (A6), "The Swan and the Dove" (B170), "Swift Current" (B106), "The Taste of Space" (B186), "They Say" (B50), "Thomas Moore and Sweet Annie" (B156), "Three Phases of Punch I" (B56), "Three Phases of Punch II" (B56), "Three Phases of Punch III" (B56), "The Tin Woodman's Annual Sonnet to Ozma of Oz at the Approach of Spring," "To Anthea" (A4), "To a Young Poet" (B115), "To Henry Vaughan" (B164), "To Hold in a Poem" (B42), "To Jay Macpherson on Her Book of Poems" (B165), "To the Christian Doctors" (B126), "To the Haggard Moon" (B157), "The Trance" (A6), "Tree" (B144), "The Two Birds" (B81), "The Two Sides of a Drum" (B78), "Universe into Stone" (B32), "Le Vierge, Le Vivace et Le Bel aujourd'hui" (B159), "Walking in a Field, Looking Down and Seeing a White Violet" (B171), "Watching the Old Man Die" (B180), "What Is That Music High in the Air?" (B151), "What Strange Enchantment" (B47), "What the Emanation of Casey Jones Said to the Medium" (B152), "When I Was a Thrush" (A6), "Wild Raspberry" (B158), "The Wisdom of Old Jelly Roll" (B195), and "With Sweetest Heresy" (B137).
A8 The Classic Shade: Selected Poems. Introd. M. L. Rosenthal. Toronto: McClelland and Stewart, 1978. 96 pp. Includes "Angels Exist, and Sonnets Are Not Dead" (B190), "The Archer" (B127), "Ballade un Peu Banale" (B68), "Bird and Flower" (B139), "The Bridegroom" (B228), "Brigadier" (B241), "Calvary" (B117), "Canticle of St John" (A6), "Cavalcade" (B99), "Chinoiserie," "Choros" (B121), "The Convolvulus" (B155), "The Country Lovers: A Little Eclogue for Irving and Aviva" (A7), "The Creek" (B100), "The Cry" (B134), "The Devil Take Her -- and Them" (B172), "The Faithful Heart" (B130), "Far West" (B129), "Field of Long Grass" (B92), "For Healing" (B69), "The Fountain" (B111), "A Hyacinth for Edith" (B85), "An Iliad for His Summer Sweetheart" (B177), "In Memoriam: E. J. P." (B181), "In the Churchyard at South Durham, Quebec" (B95), "Like an Old Proud King in a Parable" (B101), "A Little Night Piece" (B183), "The Lonely Land" (B54), "May Song" (B244), "The Mermaid" (B62), "Metamorphosis" (B150), "My Death" (B161), "My Lost Youth" (B88), "A Narrow Squeak: Variations on a Theme of Anne Wilkinson" (B154), "News of the Phoenix" (B109), "Noctambule" (B116), "Ode: On the Death of William Butler Yeats" (B133), "Ode: The Eumenides" (B136), "On Knowing Nothing" (B147), "On the Appointment of Ralph Gustafson, Esq., as Poet in Residence at Bishop's University" (B184), "A Pastoral" (B160), "The Plot against Proteus" (B108), "Poet in Residence, Bishop's University" (B187), "Political Intelligence" (B125), "Poor Innocent" (B123), "A Portrait, and a Prophecy" (B132), "Prothalamium" (B98), "Resurrection of Arp" (B112), "Sea Cliff" (B105), "Shadows There Are" (B96), "A Soldier's Ghost" (B114), "Son-and-Heir: 1930" (B118), "The Sorcerer" (B46), "Souvenirs du Temps Perdu" (B143), "Stanzas Written on First Looking into Johnston's Auk" (A6), "Swift Current" (B106), "The Taste of Space" (B186), "Thomas Moore and Sweet Annie" (B156), "To Anthea" (A6), "To a Young Poet" (B115), "To Frank Scott, Esq., on the Occasion of His Seventieth Birthday" (B189), "To Henry Vaughan" (B164), "To Irving Layton, on His Love Poem to Mrs. Jacqueline Kennedy, Then First Lady" (B167), "To Jay Macpherson on Her Book of Poems" (B165), "To the Christian Doctors" (B126), "The Two Birds" (B81), "The Two Sides of a Drum" (B78), "Le Vierge, le Vivace et le Bel Aujourd'hui" (B159), "Walking in a Field, Looking Down and Seeing a White Violet" (B171), "Watching the Old Man Die" (B180), "What Is That Music High in the Air?" (B151), "What Strange Enchantment" (B47), "What the Emanation of Casey Jones Said to the Medium" (B152), "Wild Raspberry" (B158), and "The Wisdom of Old Jelly Roll" (B195).
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
Item Number: ABCMA04ASP1000004004001001
Record: 56- Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Addresses
- Other Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP1
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Addresses
Burke, Anne (compiler)
B435 "Contemporary Poetry." [McGill Univ.]. 2 Dec. 1926. Printed (excerpts) in "Soldier Poet Inspired by World War." McGill Daily, 3 Dec. 1926, pp. 1, 3 (see C3). Rpt. (expanded, original -- "Contemporary Poetry") in McGill Fortnightly Review, 15 Dec. 1926, pp. 31-32.
B436 "Colonialism and Nationalism in Canadian Poetry before Confederation." Canadian Historical Association Annual Meeting, Montreal. 1-2 June 1944. Printed in Canadian Historical Association Report. Ed. E.M. Saunders. Toronto: Univ. of Toronto Press, 1944, pp. 74-85. TVCL (revised -"Colonialism & Nationalism in Canadian Poetry before Confederation").
B437 "The Fredericton Poets." Univ. of New Brunswick Founder's Day Address, Univ. of New Brunswick, Fredericton, 19 Feb. 1946. 19 pp. Printed (excerpts -- "Fredericton School of Poets Is Subject of Address Given Here by Dr. A. J. M. Smith, Michigan State") In The Daily Gleaner [Fredericton], 20 Feb. 1946, pp. 3, 6. Rpt. (expanded, original) in Twentieth Century Essays on Confederation Literature. Ed. Lorraine McMullen. Ottawa: Tecumseh, , pp. 128-39. UNB (expanded); TVCL (revised). With opening remarks by D. L. MacLaren. The first, printed article is not by Smith, but is mainly composed of long excerpts from his address.
B438 "Canadian Literature of Today and Tomorrow." Second Annual Conference of the Canadian Library Association, Vancouver. June 1947, pp. 1-8. CLTT.
B439 "Poet." The Canadian Writers' Conference, Queen's Univ., Kingston. 28 July 1955. Printed in Writing in Canada: Proceedings of the Canadian Writers' Conference, Queen's University, 28-31 July, 1955. Ed. George Whalley. Toronto: Macmillan, 1956, pp. 13-24. TVCL (revised).
B440 "Donne and Spenser: Two Poetics." Language and Literature Sec., Michigan Academy of Science, Arts and Letters, Michigan State Univ., East Lansing, Mich. 23 March 1957.
B441 "The Literary Background." Seminar on Canadian-American Relations, Michigan State Univ., East Lansing, Mich. 1957.
B442 "Duncan Campbell Scott." Public Lecture under the Auspices of Carleton University, Carleton Univ., Ottawa. March 1958. Printed (excerpts -"Duncan Campbell Scott, Poet") in The Ottawa Journal, 22 March 1958, p. [44]. Rpt. (revised, condensed -- "Duncan Campbell Scott: A Reconsideration") in Canadian Literature, No. 1 (Summer 1959), pp. 13-25.
B443 'Eclectic Detachment: Aspects of Identity In Canadian Poetry." Annual Meeting of the Modern Language Association, Philadelphia. 1960. Printed in Canadian Literature, No. 9 (Summer 1961), pp. 6-14. TVCL.
B444 "The Poet and the Nuclear Crisis." Assumption University Lecture. N.d. Reread at The Foster Poetry Conference, Montreal. 12-14 Oct. 1963. Printed In English Poetry m Quebec: Proceedings of the Foster Poetry Conference: October 12-14 1963. Ed. John Glassco. Montreal: McGill Univ. Press, 1965, pp. 13-28. OPP ["The Poet and the Nuclear Crisis (1965)"].
B445 "A. J. M. Smith Reading from Collected Poems." Kellogg Center, Univ. of Michigan. 5 Nov. 1963.
B446 "The Poetic Process: Of the Making of Poems." Centennial Review Lecture, 1964, Fifth Annual Lecture for The Centennial Review, Michigan State Univ., East Lansing, Mich. 22 May 1964. Printed in The Centennial Review of Arts & Science [Michigan State Univ.], 8 (Fall 1964), 353-70. TVCL ("The Poetic Process: On the Making of Poems").
B447 "Le Poete dans la societe contemporaine." International Poetry Conference, Man and His World, Montreal. 8 Sept. 1967. Printed in Etudes litteraires, 1, No. 3 (Dec. 1968), 411-13. TVCL (revised -- "Impromptu Remarks Spoken at the International Poetry Conference, Man and His World").
B448 "Some Poems of E. J. Pratt: Aspects of Imagery and Theme." Second Annual Pratt Lecture, Memorial Univ. of Newfoundland, St. John's. April 1969. 20 pp. SPEJP; TVCL.
B449 --, and A.M. Klein. "Some Letters of A. M. Klein to A.J.M. Smith, 1941-51." A.M. Klein Symposium, Univ. of Ottawa, Ottawa. 1974. Printed in A.M. Klein Symposium. Ed. Seymour Mayne. Reappraisals of Canadian Writers, No. 1. Ottawa: Univ. of Ottawa Press, 1975, pp. 1-13.
B450 "The Confessions of a Compulsive Anthologist." Conference in Honour of Professor Gordon Roper, Trent Univ., Peterborough. March 1976. Printed in Journal of Canadian Studies, 11, No. 2 (May 1976), 4-14. OPP [revised -- "The Confessions of a Compulsive Anthologist (1976)"].
B451 "Evolution and Revolution as Aspects of English-Canadian and American Literature." Revolution and Evolution: Development in the United States and Canada, Duke Univ., Durham, N.C. 14-16 Oct. 1976. Printed in Perspectives on Revolution and Evolution. Ed. Richard A. Preston. Durham, N.C.: Duke Univ. Press, 1979, pp. [213]-37.
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
Item Number: ABCMA04ASP1000004004002008
Record: 57- Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Articles and editorials
- Other Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP1
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Articles and editorials
Burke, Anne (compiler)
B260 "Maps." McGill Daily. "The Dilettante," 14 March 1923, p. 3. Signed: "S."
B261 "The Poetry of W. B. Yeats." McGill Daily. "The Dilettante," 21 Nov. 1923, p. 3. Signed: "Tomfool."
B262 "Chariots to Parnassus." McGill Daily. "The Dilettante," 6 Feb. 1924, p. 3. Originally signed: "TOM root."
B263 "License in the Library." McGill Daily Literary Supplement, 8 Oct. 1924, p. 2. Unsigned editorial.
B264 "The University Book Club." McGill Daily Literary Supplement, 8 Oct. 1924, p. 2. Unsigned editorial.
B265 "Anatole France." McGill Daily Literary Supplement, 15 Oct. 1924, p. 1. Signed: "A. J. M. S."
B266 "Wanted: A Players' Club." McGill Daily Literary Supplement, 15 Oct. 1924, p. 2. Unsigned editorial.
B267 "A Co-Operative Science Catalogue." McGill Daily Literary Supplement, 22 Oct. 1924, p. 2. Unsigned editorial.
B268 "Epilogue." McGill Daily Literary Supplement, 22 Oct. 1924, p. 2. Unsigned editorial.
B269 "The Quest for Beauty." McGill Daily Literary Supplement, 22 Oct. 1924, p. 2. Unsigned editorial.
B270 "The Burke Recital." McGill Daily Literary Supplement, 29 Oct. 1924, p. 2. Unsigned editorial.
B271 "Is Dancing Immoral?". McGill Daily Literary Supplement, 29 Oct. 1924, p. 2. Unsigned editorial.
B272 "The Triumph of Quebec." McGill Daily Literary Supplement, 29 Oct. 1924, p. 2. Unsigned editorial.
B273 "Creative Criticism." McGill Daily Literary Supplement, 5 Nov. 1924, p. 2. Unsigned editorial.
B274 "The Lit." McGill Daily Literary Supplement, 5 Nov. 1924, p. 2. Unsigned editorial.
B275 "Note." McGill Daily Literary Supplement, 5 Nov. 1924, p. 2. Unsigned editorial.
B276 "Isa Kremer." McGill Daily Literary Supplement, 12 Nov. 1924, p. 3.
B277 "McGill and the Community Players." McGill Daily Literary Supplement, 12 Nov. 1924, p. 2. Unsigned editorial.
B278 "'Choosing the Weaker Sex." McGill Daily Literary Supplement, 19 Nov. 1924, p. 2. Unsigned editorial.
B279 "Of Women Writers." McGill Daily Literary Supplement, 19 Nov. 1924, p. 2. Unsigned editorial.
B280 "'The French Theatre." McGill Daily Literary Supplement, 26 Nov. 1924, p. 2. Unsigned editorial.
B281 "'The Poetry of Harry: A Critical Examination." McGill Daily Literary Supplement, 26 Nov. 1924, pp. 1, 3.
B282 "The Players Club." McGill Daily Literary Supplement, 26 Nov. 1924, p. 2. Unsigned editorial.
B283 "Canadian Book Week." McGill Daily Literary Supplement, 3 Dec. 1924, p. 2. Unsigned editorial.
B284 "Note." McGill Daily Literary Supplement, 3 Dec. 1924, p. 2. Unsigned editorial.
B285 "The Sunday Musicale." McGill Daily Literary Supplement, 3 Dec. 1924, p. 2. Unsigned editorial.
B286 "Bliss Carman." McGill Daily Literary Supplement, 10 Dec. 1924, p. 2. Unsigned editorial.
B287 "Courses in Contemporary Literature." McGill Daily Literary Supplement, 10 Dec. 1924, p. 2. Unsigned editorial.
B288 "Prizes for College Poets." McGill Daily Literary Supplement, 10 Dec. 1924, p. 2. Unsigned editorial.
B289 "The Oppression of Minority Opinion." McGill Daily Literary Supplement, 19 Dec. 1924, p. 2. Unsigned editorial.
B290 "Tess on the Screen." McGill Daily Literary Supplement, 19 Dec. 1924, p. 2. Unsigned editorial.
B291 "A. R. Orage." McGill Daily Literary Supplement, 21 Jan. 1925, p. 2. Unsigned editorial.
B292 "Utopiana." McGill Daily Literary Supplement, 21 Jan. 1925, p. 2. Unsigned editorial.
B293 "Be Good, Sweet Maid ...." McGill Daily Literary, 28 Jan. 1925, p. 2. Unsigned editorial.
B294 "Variation on a Montaigne Motif." McGill Daily Literary Supplement, 28 Jan. 1925, p. 2. Unsigned editorial.
B295 "Enter the Players." McGill Daily Literary Supplement, 4 Feb. 1925, p. 2. Unsigned editorial.
B296 "To Gown or Not to Gown?". McGill Daily Literary Supplement, 4 Feb. 1925, p. 2. Unsigned editorial.
B297 "From Patriotism to Pacifism: A Sketch of English War Poetry." McGill Daily Literary Supplement, 11 Feb. 1925, pp. 1-2, 4.
B298 "The Old Conflict." McGill Daily Literary Supplement, 11 Feb. 1925, p. 2. Unsigned editorial.
B299 "Let Us Pray." McGill Daily Literary Supplement, 18 Feb. 1925, p. 2. Unsigned editorial.
B300 "Salute to Elia." McGill Daily Literary Supplement, 18 Feb. 1925, p. 2. Unsigned editorial.
B301 "Now It Can Be Told." McGill Daily Literary Supplement, 4 March 1925, p. 2. Unsigned editorial.
B302 "'Valedictorial.'" McGill Daily Literary Supplement, 11 March 1925, p. 2. Unsigned editorial.
B303 "Symbolism in Poetry." McGill Fortnightly Review, 5 Dec. 1925, pp. 11-12, 16.
B304 "The McGill Players' Club." McGill Fortnightly Review, 19 Dec. 1925, p. 22. Signed: "S."
B305 "Hamlet in Modern Dress." McGill Fortnightly Review, 3 Nov. 1926, pp. 2-4.
B306 --, and F.R. Scott. "The Players Club and Moyse Hall." McGill Fortnightly Review, 1 Dec. 1926, pp. 18-20.
B307 "Wanted -- Canadian Criticism." The Canadian Forum, April 1928, pp. 600-01. TVCL. See response by F.R. Scott in The Canadian Forum, June 1928, pages 697-98.
B308 "A Note on Metaphysical Poetry." Canadian Mercury, 1 (Feb. 1929), 61-62.
B309 "Some Relations between Henry Vaughan and Thomas Vaughan." Papers of the Michigan Academy of Science, Arts, and Letters, 18 (1933), 551-61. Signed: "Arthur J. M. Smith."
B310 "[Reply to] An Enquiry." New Verse, No. 11 (Oct. 1934), pp. 9-10.
B311 "Canadian Poetry -- A Minority Report." University of Toronto Quarterly, 8 (Jan. 1939), 125-38. TVCL (revised).
B312 "A Poet Young and Old -- W. B. Yeats." University of Toronto Quarterly, 8 (April 1939), 255-63.
B313 "Canadian Literature: Towards a National School." The Times [London, Eng.], 15 May 1939, p. xxi. Rpt. (revised -- "Canadian Literature") in Canada. London: The Times, 1939, pp. 242-44.
B314 "Canadian Anthologies, New and Old." University of Toronto Quarterly, 11 (July 1942), 457-74. OPP ["Canadian Anthologies New and Old (1942)"].
B315 "Our Poets: A Sketch of Canadian Poetry in the Nineteenth Century." University of Toronto Quarterly, 12 (Oct. 1942), 75-94. TVCL (revised, excerpt -- "A Summing Up").
B316 "The Poetry of Leo Kennedy." Canadian Review of Music and Art, 3, Nos. 3-4 (April-May 1944), 37.
B317 "La Nationalisme et Les Poetes Canadiens Anglais." Trans. Guy Sylvestre. Gants du Ciel, No. 8 (juin 1945), pp. 87-99. Rpt. ("Nationalism and Canadian Poetry") in Northern Review, 1, No. 1 (Dec:Jan. 1945-46), 33-42.
B318 "Abraham Moses Klein." Trans. Guy Sylvestre. Gants du Ciel, No. 11 (printemps 1946), pp. 67-81
B319 "Canadian Renaissance." Canadian Author & Bookman, 22, No. 2 (June 1946), 32.
B320 "The Poetry of Duncan Campbell Scott." The Dalhousie Review, 28 (April 1948), 12-21. TVCL; OPP ["The Poetry of Duncan Campbell Scott (1948)"].
B321 "Andrew Marvell (1621-1678): To His Coy Mistress." In An Introduction to Literature & the Fine Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 228-30.
B322 "John Donne (1572-1631): The Sun Rising and Batter My Heart." In An Introduction to Literature & the Fine Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 224-28.
B323 "John Keats (1795-1821): Ode to a Nightingale." In An Introduction to Literature & the Free Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 301-04.
B324 "Joseph Conrad (1857-1924): Victory." In An Introduction to Literature & the Fine Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 362-66.
B325 "Shakespeare: Sonnets." In An Introduction to Literature & the Fine Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 114-17.
B326 "Thomas Stearns Eliot (1888-): Gerontion." In An Introduction to Literature & the Fine Arts. East Lansing, Mich.: Michigan State College Press, 1950, pp. 353-56.
B327 "Refining Fire: The Meaning and Use of Poetry." Queen's Quarterly, 61 (Autumn 1954), 353-64. OPP ["Refining Fire: The Meaning and Use of Poetry (1954)"].
B328 "American Pressures and Canadian Individuality: II." The Centennial Review of Arts & Science [Michigan State Univ.], 1 (Fall 1957), 361-71.
B329 "A Garland for E.J. Pratt: The Poet." The Tamarack Review, No. 6 (Winter 1958), pp. 66-67, 69-71. OPP ["A Garland for E. J. Pratt (1958)"].
B330 "Drummond, William Henry." Encylopaedia Britannica, 1960.
B331 "Carman (William), Bliss." Encyclopaedia Britannica, 1961.
B332 "Graham Greene's Theological Thrillers." Queen's Quarterly, 68 (Spring 1961), 15-33.
B333 "A Reading of Anne Wilkinson." Canadian Literature, No. 10 (Autumn 1961), pp. 32-39. Rpt. (revised -- "Introduction: A Reading of Anne Wilkinson") in The Collected Poems of Anne Wilkinson, and a Prose Memoir. New York: St. Martin's, 1968, pp. xiii-xxi. Toronto: Macmillan, 1968, pp. xiii-xxi. TVCL (revised -- "A Reading of Anne Wilkinson").
B334 "A Self-Review." Canadian Literature, No. 15 (Winter 1963), pp. 20-26. TVCL.
B335 "Canadian Poetry. In English." In Princeton Encyclopedia of Poetry and Poetics. Ed. Alex Preminger. Princeton: Princeton Univ. Press, 1965, pp. 97-99.
B336 "Clerihew." In Princeton Encyclopedia of Poetry and Poetics. Ed. Alex Preminger. Princeton: Princeton Univ. Press, 1965, p. 141.
B337 "Light Verse." In Princeton Encyclopedia of Poetry and Poetics. Ed. Alex Preminger. Princeton: Princeton Univ. Press, 1965, pp. 446-49.
B338 "Occasional Verse." In Princeton Encyclopedia of Poetry and Poetics. Ed. Alex Preminger. Princeton: Princeton Univ. Press, 1965, p. 584.
B339 "Scott, Duncan Campbell." Encyclopaedia Britannica, 1965.
B340 "A Rejected Preface." Canadian Literature, No. 24 (Spring 1965), pp. 6-9. TVCL ("A Rejected Preface to New Provinces, 1936").
B341 "Housman: Selections from a Shropshire Lad." In Master Poems of the English Language: Over One Hundred Poems Together with Introductions by Leading Poets and Critics of the English-Speaking World. Ed. Oscar Williams. New York: Trident, 1966, pp. 829-30.
B342 "Pope: The Rape of the Lock." In Master Poems of the English Language: Over One Hundred Poems Together with Introductions by Leading Poets and Critics of the English-Speaking World. Ed. Oscar Williams. New York: Trident, 1966, pp. 285-89.
B343 "A Unified Personality: Birney's Poems." Canadian Literature, No. 30 (Autumn 1966), pp. 4-13. TVCL (revised -- "Earle Birney: A Unified Personality").
B344 "Service, Robert William." Encyclopaedia Britannica, 1967.
B345 "F. R. Scott and Some of His Poems." Canadian Literature, No. 31 (Winter 1967), pp. 25-35. TVCL (revised).
B346 Introduction. Poetry Australia, No. 16 (June 1967), p. 4. A Canadian issue of Poetry Australia, edited by Smith. As guest editor, Smith offers an anthology of Canadian verse which excludes his own. Contains poems by F.R. Scott, P.K. Page, John Newlove, George Bowering, Robert Hogg, Raymond Souster, Louis Dudek, Al Purdy, Irving Layton, Ralph Gustafson, Margaret Avison, Gwendolyn MacEwen, and Margaret Atwood.
B347 "The Canadian Poet: Part I. To Confederation." Canadian Literature, No. 37 (Summer 1968), pp. 614. TVCL (revised -- "The Canadian Poet: To Confederation").
B348 "The Canadian Poet: Part II. After Confederation." Canadian Literature, No. 38 (Autumn 1968), pp. 41-49. TVCL (revised --"The Canadian Poet: After Confederation").
B349 "Canadian Literature: The First Ten Years." Canadian Literature, No. 41 (Summer 1969), pp. 97-103.
B350 "Alden Nowlan." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 806-07.
B351 "F. R. Scott." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 968-70.
B352 "Irving Layton." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 632.-34.
B353 "Jay Macpherson." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, p. 700.
B354 "John Glassco." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 423-25.
B355 "Margaret Avison." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 42-44.
B356 "Ralph Gustafson." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 456-57.
B357 "The Poetry of P. K. Page." Canadian Literature, No. 50 (Autumn 1971), pp. 17-27. Rpt. trans. G. Ceschi ("La Poesie de P. K. Page") in ellipse, No. 18 (1976), pp. 126-38. TVCL ("The Poetry of P. K. Page").
B358 "The Arts: Then and Now." McGill News, Jan. 1972, pp. 23-24.
B359 "Contemporary Canadian Verse." ACSUS Newsletter, 2, No. 2 (Autumn 1972), 61-65.
B360 "Nonsense Poetry and Romanticism." In Essays in Honor of Russel B. Nye. Ed. Joseph Waldmier. East Lansing, Mich.: Michigan State Univ. Press, 1978, pp. 180-94.
B361 "And Some Were Intended to Sell." The Tamarack Review, No. 76 (Winter 1979), pp. 97-101. See B434.
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
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Record: 58- Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Audio-visual material
- Other Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP1
p. 308-309 (2 p.) - Links:
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Audio-visual material
Burke, Anne (compiler)
B452 Six Montreal Poets: A. J. M. Smith, Irving Layton, Leonard Cohen, F.R. Scott, Louts Dudek, and A. M. Klein. Folkways, FL 9805, 1957. The recording was done especially for this release. Smith read "The Archer," "Business as Usual," "Fear as Normal," "A Hyacinth for Edith," "Like an Old Proud King in a Parable," "My Death," "Noctamble," "The Plot against Proteus," and "Sonnet."
B453 CBC Tape and Audition. A.J.M. Smith Reading from Collected Poems. Kellogg Center, Univ. of Michigan. 5 Nov. 1963.
The poems were divided into six sections:
I. "A Poetic Credo and Two Tributes": "Like an Old Proud King in a Parable," "Mallarme: Le Vierge, le vivace et le bel aujourd'hui," "Ode on the Death of William Butler Yeats," and "To a Young Poet."
II. "Evocations of Eros": "Bird and Flower," "The Faithful Heart," "Field of Long Grass," "An Iliad for His Summer Sweetheart," and "To Anthea."
III. " 'Serious' Light Verse": "The Adolescence of Leda," "Ballade un peu banale," "Chinoisene (after Theophile Gautier)," "The Hippopotamus (after Theophile Gautier)," "My Lost Youth," "Three Phases of Punch," and "The Sorcerer."
IV. "Two Gothic Romances": "The Bridegroom" and "Prothalamium."
V. "Devotional Verse": "Calvary," "Canticle of St. John (after Stephane Mallarme)," "The Cry," "The Offices of the First and the Second Hour," and "To Henry Vaughan."
VI. "Speaking about Death": "The Archer," "On Knowing Nothing," "Speaking about Death," "Watching the Old Man Die," and "The Wisdom of Old Jelly Roll."
B454 Bentley, Nelson, Donald Hall, Allen Seager, and A.J.M. Smith. "Tribute to Theodore Roethke." WUOM Radio [Univ. of Michigan, Ann Arbor], May 1965. Brief reminiscences by Smith.
B455 Smith, A. J. M. A memorial broadcast for Theodore Roethke. AMRT and CBC 1963, 1965. The broadcast opened with music from Bach ("Sleepers Awake") and Roethke reading from "The Lost Son" and "I Knew a Woman." Smith read "The Exulting." The program was broadcast twice in the fall of 1963 over the Western and national network of the CBC.
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Copyright of this work is the property of Toronto, Ontario : ECW Press and its content may not be copied without the copyright holder's expressed written permission except for the print or download capabilities of the retrieval software used for access. This content is intended solely for the use of the individual user.
Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
Item Number: ABCMA04ASP1000004004002009
Record: 59- Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Poems
- Other Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP1
p. 278-291 (14 p.) - Links:
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Poems
Burke, Anne (compiler)
Note: When an item is reprinted in one of Smith's books, this fact is noted in the entry through one of the following abbreviations:
The Archer ------------------------------------ A
Canadian Literature of Today and Tomorrow -- CLTT
The Classic Shade: Selected Poems ------------ CS
Collected Poems ------------------------------ CP
News of the Phoenix and Other Poems ---------- NP
On Poetry and Poets: Selected
Essays of A. J. M. Smith ------------ OPP
Poems: New and Collected -------------------- PNC
Selected Profane Verse and Sacred
Poetry of A. J. M. Smith ------------ SPV
Some Poems of E. J. Pratt: Aspects of
Imagery and Theme ----------------- SPEJP
A Sort of Ecstasy. Poems: New and Selected --- SE
Towards a View of Canadian Letters: Selected
Critical Essays 1928-1971 ---------- TVCL
Universe into Stone -------------------------- US
The University of New Brunswick: Founders'
Day Address ------------------------- UNB
Note: In cases where there are more than one edition, the first edition has been used, unless otherwise indicated.
B1 "Sonnet [Although to-day no gleaming cavalcade 18.
B2 "Sylvan Rhapsody." McGill Daily. "The Dilettante," 1 Nov. 1922, p. 3. Ascribed to A. J. M. Smith. Signed: "Jay Ess."
B3 "To an Old Tune." McGill Daily. "The Dilettante," 6 Dec. 1922, p. 3. Signed: "S."
B4 "Beauty Dead." McGill Daily. "The Dilettante," 13 Dec. 1922, p. 3. Signed: "S."
B5 "Conditional Mood." McGill Daily, 10 Jan. 1923, p. 3. Ascribed to A.J.M. Smith. Published anonymously.
B6 "When Thought of Her." McGill Daily. "The Dilettante," 31 Jan. 1923, p. 3. Signed: "S."
B7 "The Danube, 1922." McGill Daily. "The Dilettante," 7 Feb. 1923, p. 3. Ascribed to A.J.M. Smith. Published anonymously.
B8 "Quiet Haven." McGill Daily. "The Dilettante," 21 Feb. 1923, p. 3. Signed: "S."
B9 "Country Walk." McGill Daily. "The Dilettante," 7 March 1923, p. 3. Signed: "S."
B10 "Symbols." Montreal Daily. "The Dilly-Dally," 16 March 1923, p. 3. Signed: "A. S. S." In a parody issue of the McGill Daily.
B11 "Humouresque." McGill Daily. "The Dilettante," 21 March 1923, p. 3. Signed: "S."
B12 "In the City." McGill Daily. "The Dilettante," 21 March 1923, p. 3. Signed: "S."
B13 "Hallowe'en." McGill Daily. "The Dilettante," 31 Oct. 1923, p. 3. Signed: "Tomfool."
B14 "The North Winds in September." McGill Daily. "The Dilettante," 7 Nov. 1923, p. 3. Ascribed to A. J. M. Smith. Signed: "S. M."
B15 "At a Fireside." McGill Daily. "The Dilettante," 5 Dec. 1923, p. 3. Signed: "T. F."
B16 "A Hymn of Hate." McGill Daily. "The Dilettante," 12. Dec. 1923, p. 3. Signed: "TOMFOOL."
B17 "To His Coy Mistress." McGill Daily, 20 Dec. 1923, p. 3. Signed: "Tomfool."
B18 "Ye Epicure Wisheth for Himself a Merne Yuletide." McGill Daily, 20 Dec. 1923, p. 4. Signed: "Tom fool."
B19 "Art for Arts '25's Sake." Old McGill 1925 [Montreal: McGill Univ.], 1924, pp. 49, 309. Signed: "TOMFOOL."
B20 "Kindness to Animals." McGill Daily. "The Dilettante," 23 Jan. 1924, p. 3. Rpt. (revised) in McGill Daily, 14 March 1925, p. 3. Originally signed: "Tomfool." The reprinted version of the poem was published anonymously.
B21 "A Song against Constancy." McGill Daily. "The Dilettante," 12 March 1924, p. 3. Rpt. (revised) in The Saturday Evening Post, 4 April 1925, p. 124. Originally signed: "TOMFOOL."
B22 "Epithalamium." MonGrel Daily. "The Dilly-Dally," 25 March 1924, p. 3. Ascribed to A. J. M. Smith. Signed: "DAMFULL." In a parody issue of McGill Daily.
B23 "Pagan." The Canadian Forum, Sept. 1924, p. 370. CP (revised); PNC.
B24 "The Wave." McGill Daily Literary Supplement, 8 Oct. 1924, p. 4. Signed: "Max."
B25 "Poplar Leaves." McGill Daily Literary Supplement, 15 Oct. 1924, p. 1. Signed: "Max."
B26 "Hellenica." McGill Daily Literary Supplement, 19 Nov. 1924, p. 1. NP (revised); SE; CP ("Hellenica"); PNC ("Hellenica I, II"). Originally signed: "A. J. M. S."
B27 "Sonnet to a Bow-Legged Girl." McGill Daily Literary Supplement, 19 Nov. 1924, p. 3. Ascribed to A. J. M. Smith. Signed: "Jay Ess."
B28 "Requiescunt." McGill Daily Literary Supplement, 3 Dec. 1924, p. 1. Ascribed to A. J. M. Smith. Signed: "Corinna."
B29 "A Song [My heart is like a garden ...]." McGill Daily, 19 Dec. 1924, p. 1. Ascribed to A. J. M. Smith. Signed: "Corinna."
B30 "Grecian Elegy." In Poetry Yearbook 1925. Montreal: Canadian Authors Association, 1925, pp. 25-26.
B31 "Nightfall." In Poetry Yearbook 1925. Montreal: Canadian Authors Association, 1925, p. 27.
B32 "Poem [Let us invert the world, and laugh...]." In The Poets of the Future: A College Anthology for 1924-25. Ed. Henry T. Schnittkind. Boston: Stratford, 1925, p. 182. Rpt. (revised) in McGill Fortnightly Review, 19 Dec. 1925, p. 23. Rpt. (revised "Universe into Stone") in The Adelphi, NS 7 (Jan. 1934), 235-36. SE; US; CP; PNC ("Universe Into Stone").
B33 "Interior." McGill Daily Literary Supplement, 21 Jan. 1925, p. 1. Signed: "Vincent Start."
B34 "Jazz." McGill Daily Literary Supplement, 21 Jan. 1925, p. 3. Signed: "Max."
B35 "Nocturne [The stars are gold pin heads ...]." McGill Daily Literary Supplement, 21 Jan. 1925, p. 1. Signed: "Vincent Starr."
B36 "Vagabond." McGill Daily Literary Supplement, 21 Jan. 1925, p. 4. Signed: "A. J. M. S."
B37 "Vain Comfort." McGill Daily Literary Supplement, 28 Jan. 1925, p. 1. Signed: "S."
B38 "The Smile." The Canadian Forum, Feb. 1925, p. 149. Rpt. trans. Rina Lasnier ("Je me souviendrai") in Canadian Literature, No. 39 (Winter 1969), p. 31. NP (revised- "I Shall Remember"); CP; PNC.
B39 "The Ascetic Who Found Another Way." McGill Daily Literary Supplement, 4 Feb. 1925, p. 3. Signed: "A. J. M. S."
B40 "Irony." McGill Daily Literary Supplement, 4 Feb. 1925, p. 1. Signed: "Vincent Starr."
B41 "Light O' Love." McGill Daily Literary Supplement, 4 March 1925, p. 1. Signed: "Vincent Starr."
B42 "Prayer." McGill Daily Literary Supplement, 11 March 1925, p. 1. Rpt. (revised -- "For a Canadian Anthology") in McGill News, Supplement, 8, No. 2 (March 1927), 23. Rpt. trans. William Shand and Alberto Girri ("Para encerrar en un poema") in Sur, No. 240 (May-June 1956), p. 58. SE (revised "To Hold in a Poem"); CP; PNC. Originally signed: "A. J. M. S."
B43 "Song [O when the airs of April...]." McGill Daily Literary Supplement, 11 March 1925, p. 2. Rpt. (revised) in The Measure, No. 50 (April 1925), p. 15. Originally signed: "Max."
B44 "Song [O love, that you and I...]." The Measure, No. 50 (April 1925), p. 15.
B45 "The Wistful Going." The Canadian Student, 8, No. 2 (Nov. 1925), 41.
B46 "Not of the Dust." McGill Fortnightly Review, 21 Nov. 1925, p. 3. Rpt. (revised -- "The Sorcerer") in Queen's Quarterly, 61 (Summer 1954), 229. Rpt. (revised) in Maclean's, 20 Oct. 1962, p. 33. Rpt. in ellipse, No. 22 (1978), p. 68. Rpt. trans. Yves Merzisen ("Le sorcier") in ellipse, No. 22 (1978), p. 69. SE ("The Sorcerer"); CP; PNC; CS.
B47 "What Strange Enchantment." McGill Fortnightly Review, 21 Nov. 1925, p. 7. CP (revised); PNC; CS. Signed: "Vincent Starr."
B48 Letter. McGill Daily, 1 Dec. 1925, p. 2. Parody of his own poem "Not of the Dust" (B46).
B49 "The Cry of a Wandering Gull." McGill Fortnightly Review, 5 Dec. 1925, P. 12. Signed: "Vincent Starr."
B50 "The Woman in the Samovar." McGill Fortnightly Review, 5 Dec. 1925, p. 15. CP (revised, excerpt -- "They Say"); PNC. Originally signed: "Michael Gard."
B51 "Felicity." McGill Fortnightly Review, 19 Dec. 1925, p. 19. Signed: "Vincent Starr."
B52 "Ascensions." McGill Fortnightly Review, 9 Jan. 1926, p. 36. Signed: "Vincent Starr."
B53 "Epitaph [Stranger, weep not on this stone ...]." McGill Fortnightly Review, 9 Jan. 1926, p. 30. Rpt. (revised) in Voices, 5, No. 8 (June 1926), 289. Rpt. (revised) in The Canadian Forum, Aug. 1928, p. 745. Rpt. in The Bermondsey Book, 6, No. 2 (March-April-May 1929), 5. NP; CP (revised); PNC.
B54 "The Lonely Land: Group of Seven." McGill Fortnightly Review, 9 Jan. 1926, p. 30. Rpt. (revised -- "The Lonely Land") in The Canadian Forum, July 1927, p. 309. Rpt. (revised) in The New Outlook, 5 Oct. 1927, p. 8. Rpt. (revised) in The Dial, June 1929, pp. 495-96. Rpt. in ellipse, No. 22 (1978), pp. 84, 86. Rpt. trans. Pierre Nepveau ("Un pays seul") in ellipse, No. 22 (1978), pp. 85, 87. NP (revised -- "The Lonely Land"); SE; CP (revised); PNC; CS.
B55 "Here Lies an Honest Man." McGill Fortnightly Review, 23 Jan. 1926, p. 42. Signed: "Vincent Starr."
B56 "Punchinello in a Purple Hat." McGill Fortnightly Review, 23 Jan. 1926, p. 42. Rpt. (revised -- "Varia") in McGill Fortnightly Review, 25 March 1927, 62. Rpt. (revised) in Voices, 6, No. 8 (July 1927), 12-13. Rpt. (revised) in The Canadian Forum, Sept. 1927, pp. 372-73. Rpt. (revised) in The London Aphrodite, No. 5 (April 1929), 38283. CP (revised -- "Three Phases of Punch"); PNC ("Three Phases of Punch I," "Three Phases of Punch II," "Three Phases of Punch III"). Originally signed: "Michael Gard."
B57 "Silver Birch." McGill Fortnightly Review, 6 Feb. 1926, p. 51. Signed: "S."
B58 "Summer Warning." McGill Fortnightly Review, 6 Feb. 1926, p. 52. Rpt. (revised) in The Measure, No. 62. (April 1926), p. 8. Originally signed: "Vincent Starr."
B59 "Chiaroscuro." McGill Fortnightly Review, 20 Feb. 1926, p. 57.
B60 "Save in Frenzy." McGill Fortnightly Review, 20 Feb. 1926, p. 58. Signed: "Vincent Starr."
B61 "Portrait." McGill Daily, 24 Feb. 1926, p. 2. Signed: "Simeon Lamb."
B62 "Legend." McGill Fortnightly Review, 6 March 1926, 65. Rpt. (revised -- "The Mermaid") in Poetry [Chicago], 58 (April 1941), 10-11. SE; CP; PNC; CS. Originally signed: "Vincent Starr."
B63 "Nocturne [Piling the comforters about the bed ...]." McGill Fortnightly Review, 6 March 1926, p. 66. Signed: "Michael Gard."
B64 "Proud Parable." McGill Fortnightly Review, 6 March 1926, p. 65. Signed: "S."
B65 "Haste Thee." McGill Daily, 10 March 1926, p. 2. Rpt. (revised -- "The Shrouding") in McGill Fortnightly Review, 27 April 1927, p. 79. Rpt. in The Dial, 85 (Nov. 1928), 414-15. NP; CP; PNC. Originally signed: "Vincent Starr." Published in McGill Fortnightly Review with "Beside One Dead" (B91) and "Two Epitaphs" (B95) under the heading "Undertaker's Anthology."
B66 "Journey." McGill Daily, 17 March 1926, p. 2. Rpt. (revised) in The Dial, July 1928, [p. 51]. Rpt. trans. Rina Lasnier ("Cheminement") in Canadian Literature, No. 39 (Winter 1969), p. 30. NP (revised -- "Journey"); CP; PNC. Originally signed: "Michael Gard."
B67 "The Bird." McGill Fortnightly Review, 22 March 1926, p. 75. Rpt. (revised) in The Measure, No. 62 (April 1926), p. 7. Rpt. (revised) in The Canadian Forum, June 1927, p. 271. Rpt. (revised) in The New Outlook, 21 Sept. 1927, pp. 14, 15. CP; PNC. Originally signed: "S."
B68 "Pastorale." McGill Fortnightly Review, 22 March 1926, p. 73. Rpt. (revised -- "Chanson un Peu Banale") in Voices, 6, No. 5 (Feb.-March 1927), 171. Rpt. in The New Outlook, 15 June 1927, p. 8. Rpt. (revised -- "Ballade un peu banale") in New Verse, No. 9 (June 1934), pp. 13-14. Rpt. (revised) in Bozart, 9, No. 1 -- Westminster, 24, No. 1 (Spring-Summer 1935), 16-17. SPV (revised); CP (revised); PNC; CS ("Ballade un Peu Banale"). Originally signed: "Vincent Starr."
B69 "A Poem [Spread your long arms ...]." McGill Fortnightly Review, 22 March 1926, p. 78. Rpt. (revised -- "For Healing") in The Canadian Forum, Dec. 1940, p. 278. NP; CP; PNC; CS.
B70 "The Athletic Levy." McGill Fortnightly Review, 22 March 1926, p. 80. Signed: "Simeon Lamb." Published with "Epitaph" (B71), "McGill Daily" (B72), and "Professor Windbag" (B73) under the heading "Trivia."
B71 "Epitaph." McGill Fortnightly Review, 22 March 1926, p. 80. Signed: "Simeon Lamb." Published with "The Athletic Levy" (B70), "McGill Daily" (B72), and "Professor Windbag" (B73) under the heading "Trivia."
B72 "McGill Daily." McGill Fortnightly Review, 22 March 1926, p. 8. Signed: "Simeon Lamb." Published with "The Athletic Levy" (B70), "Epitaph" (B71), and "Professor Windbag" (B73) under the heading "Trivia."
B73 "Professor Windbag." McGill Fortnightly Review, 22 March 1926, p. 80. Signed: "Simeon Lamb." Published with "The Athletic Levy" (B70), "Epitaph" (B71), and "McGill Daily" (B72) under the heading "Trivia."
B74 "Leda." McGill Fortnightly Review, 3 Nov. 1926, p. 7.
B75 "Tailpiece." McGill Fortnightly Review, 3 Nov. 1926, p. 8. Signed: "Vincent Starr."
B76 "Theolog at the Symphony." McGill Fortnightly Review, 3 Nov. 1926, p. 2. Signed: "S."
B77 "The Moment and the Lamp." McGill Fortnightly Review, 17 Nov. 1926, p. 15.
B78 "The Two Sides of a Drum." The Dial, Dec. 1926, p. 482. Rpt. (revised) in The New Outlook, 2 Feb. 1927, p. 27. NP (revised); CP; PNC; CS.
B79 "Epitaph [Stranger, this stone standing here ...]." McGill Fortnightly Review, 1 Dec. 1926, p. 23.
B80 "For Ever and Ever, Amen." McGill Fortnightly Review, 1 Dec. 1926, p. 23.
B81 "Something Apart." McGill Fortnightly Review, 1 Dec. 1926, p. 23. CP (revised -- "The Two Birds"); PNC; CS.
B82 "College Spirit." McGill Fortnightly Review, 15 Dec. 1926, p. 32. Signed: "Vincent Start."
B83 "Etude in a Minor Key." McGill Daily, 15 Dec. 1926, p. 2. Signed: "Michael Gard."
B84 "Flame and Fountain." McGill Fortnightly Review, 15 Dec. 1926, p. 29. Rpt. (revised) in The New Outlook, 18 May 1927, p. 6.
B85 "Homage to E.S." McGill Fortnightly Review, 2 Feb. 1927, p. 34. Rpt. (revised -- "A Hyacinth for Edith") in The Canadian Forum, July 1930, p. 369. Rpt. (revised) in The Adelphi, NS 8 (April 1934), 37. NP; SE; CP (revised); PNC; CS.
B86 "Panic." McGill Fortnightly Review, 2 Feb. 1927, p. 36. Signed: "S."
B87 "Poem [When I was arrested for drunkenness...]." McGill Fortnightly Review, 18 Feb. 1927, p. 47. Signed: "Michael Gard."
B88 "Twilight." McGill Fortnightly Review, 18 Feb. 1927, p. 45. Rpt. (revised -- "'My Lost Youth'") in The Tamarack Review, No. 29 (Autumn 1963), p. 67. Rpt. in English Poetry in Quebec: Proceedings of the Foster Poetry Conference October 12-14 1963. Ed. John Glassco. Montreal: McGill Univ. Press, 1965, p. 130. PNC ("My Lost Youth"); CS.
B89 "Sermon." McGill Fortnightly Review, 10 March 1927, p. 50. Signed: "Vincent Starr."
B90 "Testament." McGill Fortnightly Review, 10 March 1927, p. 56. Rpt. (revised) in The New Outlook, 20 July 1927, p. 6. Rpt. (revised) in The Canadian Forum, Aug. 1930, p. 402..
B91 "Beside One Dead." McGill Fortnightly Review, 27 April 1927, p. 79. NP (revised); CP (revised); PNC. Initially published with "The Shrouding" (B65) and "Two Epitaphs" (B95) under the heading "Undertaker's Anthology."
B92 "Field of Long Grass." McGill Fortnightly Review, 27 April 1927, p. 68. SE (revised); CP; PNC; CS. Originally signed: "Michael Gard."
B93 "The Shepherd's Lament." McGill Fortnightly Review, 27 April 1927, p. 76. Signed: "Corydon."
B94 "To Evening." McGill Fortnightly Review, 27 April 1927, p. 73. Signed: "Vincent Starr."
B95 "Two Epitaphs [I. Under this grassy mound .... ] [II. Say not of this lady ...]." McGill Fortnightly Review, 27 April 1927, p. 79. Rpt. (revised -- "In the Churchyard at South Durham, Quebec") m Canadian Literature, No. 15 (Winter 1963), p. 18. PNC (revised); CS. Initially published with "Beside One Dead" (B91) and "The Shrouding" (B65) under the heading "Undertaker's Anthology."
B96 "Shadows There Are." The Nation, 15 June 1927, p. 671. Rpt. trans. Rina Lasnier ("leux d'ombres") in Canadian Literature, No. 39 (Winter 1969), p. 29. Rpt. ("Shadows There Are") in ellipse, No. 22 (1978), p. 86. Rpt. trans. Rina Lasmer ("Jeux d'ombres") in ellipse, No. 22 (1978), p. 87. NP ("Shadows There Are"); CP; PNC; CS.
B97 "Nightfall [All day within the winding gardens ...]." The Canadian Forum, Feb. 1928, p. 550. Rpt. (revised) in Commonweal [N.Y.], 23 July 1930, p. 324. CP (revised -- "Nightfall: Fin de siecle"); PNC.
B98 "Prothalamium." The Dial, July 1928, p. 51. NP (revised); CP (revised); PNC; CS.
B99 "Cavalcade." The Canadian Forum, Aug. 1928, p. 745. CS.
B100 "The Creek." The Dial, Nov. 1928, p. 414. Rpt. (revised) in ellipse, No. 22 (1978), p. 82. Rpt. trans. Yves Merzisen ("Le ruisseau") in ellipse, No. 22 (1978), p. 83. NP (revised -- "The Creek"); SE; CP (revised); PNC; CS.
B101 "Proud Parable." Canadian Mercury, t (Dec. 1928), 15. Rpt. (revised -- "Like an Old Proud King in a Parable") in Hound & Horn, 5 (Jan.March 1932), 207. Rpt. trans. Rina Lasnier ("Le roi de la parabole") in Canadian Literature, No. 39 (Winter 1969), p. 28. Rpt. ("Like an Old Proud King in a Parable") in ellipse, No. 22 (1978), p. 64. Rpt. trans. Rina Lasnier ("Le roi de la parabole") in ellipse, No. 22 (1978), p. 65. NP (revised -- "Like an Old Proud King in a Parable"); CP; PNC; CS. Originally signed: "A. J. Smith."
B102 "Good Friday: To M.M." Canadian Mercury, 1 (March 1929), 87. Rpt. (revised) in Poetry [Chicago], 46 (May 1935), 82-83. Rpt. ("Good Friday") in ellipse, No. 22 (1978), p. 76. Rpt. trans. ("Vendredi Saint") in ellipse, No. 22 (1978), p. 77. NP (revised -- "Good Friday"); SPV (revised); CP; PNC (revised).
B103 "The Circle." Canadian Mercury, i (April-May 1929), 102. Rpt. (revised) in The Rotarian, 46 (April 1935), 45. SE (revised); CP (revised); PNC.
B104 "In the Wilderness." The Canadian Forum, April 1930, p. 239. Rpt. (revised) in Hound & Horn, 5 (Jan.-March 1932), 206-07. NP (revised); CP; PNC.
B105 "Sea Cliff." The Canadian Forum, June 1930, p. 332. Rpt. (revised) in ellipse, No. 22 (1978), p. 80. Rpt. trans. Yves Merzisen ("Falaise") in ellipse, No. 22 (1978), p. 81. NP (revised --"Sea Cliff"); SE; CP; PNC; CS.
B106 "Swift Current." The Canadian Forum, June 1930, p. 332. NP (revised); SE; CP; PNC; CS.
B107 "Ode to Good Form." The Canadian Forum, April 1931, p. 256.
B108 ["This is a theme for muted coronets .... "] Hound & Horn, 5 (Jan.-March 1932), 206. Rpt. (revised "The Plot Against Proteus") in Adam International Review, 32, Nos. 313-315 (1967), 47. Rpt. in ellipse, No. 22 (1978), p. 66. Rpt. trans. Yves Merzisen ("Le complot contre Protee") in ellipse, No. 22 (1978), p. 67. NP ("The Plot Against Proteus"); SE ("The Plot against Proteus"); CP; PNC ("The Plot Against Proteus"); CS ("The Plot against Proteus").
B109 "News of the Phoenix." New Verse, No. 6 (Dec. 1933), P. 10. Rpt. (revised) in Vice Versa, 1, No. 1 (Nov.-Dec. 1940), 7. Rpt. trans. Rina Lasnier ("Rumeurs") in Canadian Literature, No. 39 (Winter 1969), p. 30. Rpt. (revised -- "News of the Phoenix") in Red Cedar Review, 7, Nos. 3-4 (Summer 1971), p. 50. NP (revised); CP (revised); PNC; CS.
B110 "The Offices of the First and the Second Hour." New Verse, No. 6 (Dec. 1933), P. 10. Rpt. (revised) in The Rocking-Horse [Univ. of Wisconsin], 2, No. 3 (Spring 1935), 7. Rpt. (revised -- "The Offices of the First and the Second Hour") in ellipse, No. 22 (1978), p. 78. Rpt. trans. Leo A. Brodeur ("Les offices de Matines et de Laudes") in ellipse, No. 22 (1978), p. 79. NP (revised -- "The Offices of the First and the Second Hour"); CP (revised); PNC.
B111 "The Fountain." The Adelphi, NS 7 (Jan. 1934), 236. NP (revised); CP (revised); PNC; CS.
B112 "Resurrection of Arp." New Verse, No. 8 (April 1934), pp. 2-3. Rpt. in Bozart, 9, No. 1 -Westminster, 24, No. 1 (Spring-Summer 1935), 17. SE (revised); CP (revised); PNC; CS.
B113 "The Crows." Poetry [Chicago], 44 (July 1934), 197-98. CP (revised); PNC. Printed in Poetry [Chicago] along with "A Soldier's Ghost" (B114) and "To a Young Poet" (B115) under the heading "Emblems of Air."
B114 "A Soldier's Ghost." Poetry [Chicago], 44 (July 1934), 198-99. NP (revised); SE; CP (revised); PNC; CS. Printed in Poetry [Chicago] along with "The Crows" (B113) and "To a Young Poet" (B115) under the heading "Emblems of Air."
B115 "To a Young Poet." Poetry [Chicago], 44 (July 1934), 197. Rpt. trans. Rma Lasnier (revised -- "a un jeune poete") in Canadian Literature, No. 39 (Winter 1969), p. 29. Rpt. in ellipse, No. 22 (1978), p. 63. Rpt. ("To a Young Poet") in ellipse, No. 22 (1978), p. 62. NP (revised); CP (revised); PNC; CS. Printed in Poetry [Chicago] along with "The Crows" (B113) and "A Soldier's Ghost" (B114) under the heading "Emblems of Air."
B116 "Noctambule." The Rocking-Horse [Univ. of Wisconsin], 2, No. 3 (Spring 1935), 8. Rpt. (revised) in New Verse, No. 22 (Aug.-Sept. 1936), p. 8. Rpt. (revised) in ellipse, No. 22 (1978), p. 70. Rpt. trans. Pierre Nepveau in ellipse, No. 22 (1978), p. 71. NP (revised); SE (revised); CP (revised); PNC; CS (revised).
B117 "Calvary." The Rotarian, 46 (April 1935), 45.Rpt. in Poetry [Chicago], 62 (April 1943), 20. NP; CP; PNC; CS.
B118 "Son-and-Heir." New Verse, No. 15 (June 1935), pp. 3-4. Rpt. in The Rocking-Horse [Univ. of Wisconsin], 2, No. 4 (Summer 1935), 7. Rpt. in New Frontier, 1, No. 4 (July 1936), 14. NP (revised); CP ("Son-and-Heir 1930"); PNC; CS ("Son-and-Heir: 1930").
B119 "Arp's Randy Rant in the Comfy Confession Box." New Verse, No. 18 (Dec. 1935), p. 11.
B120 "Quietly to Be Quickly, or Other or Ether, a Song or a Dance." New Verse, No. 18 (Dec. 1935), pp. 11-12. SE (revised); CP (revised -- "Quietly to Be Quickly or Other or Ether: A Song or a Dance"); PNC.
B121 "Chorus." New Verse, No. 22 (Aug.-Sept. 1936), p. 8. Rpt. (revised -- "Poem") in New Frontier, 1, No. 5 (Sept. 1936), 24. NP (revised -- "Chorus"); CP ("Choros"); PNC; CS.
B122 "The Face." New Verse, No. 22 (Aug.-Sept. 1936), p. 7. Rpt. (revised) in The Canadian Forum, Sept. 1936, p. 24. Rpt. (revised) in Contemporary Verse, 1, No. 1 (Sept. 1941), 11. NP.
B123 "The Natural." New Frontier, 1, No. 5 (Sept. 1936), 8. Rpt. (revised -- "Poor Innocent") in New Verse, No. 28 (Jan. 1938), p. 5. Rpt. (revised) in Voices, No. 113 (Spring 1943), p. 19. NP (revised); CP; PNC; CS (revised).
B124 "Poem." New Frontier, 1, No. 5 (Sept. 1936), 25.
B125 "Political Note." Contemporary Poetry and Prose [London, Eng.], Nov. 1936, pp. 130-31. SE (revised -- "Political Intelligence"); CP; PNC; CS.
B126 "Preceptors of the Heart." The Canadian Forum, Dec. 1936, p. 26. Rpt. (revised -- "To the Christian Doctors") in Poetry [Chicago], 62 (July 1943), 200. NP; CP (revised); PNC; CS (revised).
B127 "The Archer." The Canadian Forum, Jan. 1937, p. 24. Rpt. (revised) in Contemporary Poetry [Baltimore], 3, No. 3 (Autumn 1943), 11. NP; SE; A; CP; PNC; CS.
B128 "The Bridegroom." The Canadian Forum, Jan. 1939, p. 308. SE (revised); CP (revised); PNC; CS.
B129 "Far West." Twentieth Century Verse, Nos. 15-16 (Feb. 1939), 148. Rpt. (revised) in Voices, No. 113 (Spring 1943), p. 19. NP; CP (revised); PNC; CS.
B130 "The Faithful Heart." The Right Review, No. 9 (April 1939), p. [13]. NP (revised); CP; PNC; CS.
B131 "On Reading an Anthology of Modern Canadian Poetry." The Canadian Forum, Dec. 1940, p. 278. Rpt. (revised -- "On Reading an Anthology of Popular Poems") in Poetry [Chicago], 62 (July 1943), 200-01. NP (revised -- "On Reading an Anthology of Popular Poetry"); CP; PNC.
B132 "A Portrait, and a Prophecy." The Canadian Forum, Dec. 1940, p. 278. Rpt. (revised) in Poetry [Chicago], 62 (July 1943), 201-02. NP; SE (revised); CP (revised); PNC; CS.
B133 "Ode: On the Death of W. B. Yeats." Vice Versa, i, No. 2 (Jan.-Feb. 1941), 3-4. Rpt. (revised) in Canadian Review of Music and Art, 3, Nos. 3-4 (April-May 1944), 35. NP; SE ("Ode: On the Death of William Butler Yeats"); CP; PNC; CS.
B134 "The Cry." Poetry [Chicago], 58 (April 1941), 11. NP (revised); CP (revised); PNC (revised); CS.
B135 "Surrealism in the Service of Christ." Poetry [Chicago], 58 (April 1941), 9-10.
B136 "Ode: The Eumenides." Canadian Poetry Magazine, 5, No. 4 (Aug. 1941), 24-25. Rpt. (revised -- "The Eumenides") in Vice Versa, 1, Nos. 3-5 (Jan. 1942), 36-37. Rpt. (revised -- "Ode: The Eumenides") in The Canadian Forum, Oct. 1943, p. 155. Rpt. (revised) in ellipse, No. 22 (1978), pp. 92, 94, 96. Rpt. trans. Arlette Franciere ("Ode: les eumenides") in ellipse, No. 22 (1978), pp. 93, 95, 97. NP (revised --"Ode: The Eumenides"); SE (revised); CP (revised); PNC; CS. The revisions which date from 1954 include a version of "On Seeing Pictures of the War Dead" (B138) as Part II of "Ode: The Eumenides."
B137 "With Sweetest Heresy." Maryland Quarterly, No. 2 (1944), p. 39. Rpt. in Meanjm Papers [Australia], 3 (Summer 1944), 149. Rpt. (revised) in The Canadian Forum, Dec. 1944, p. 204. SE (revised); CP (revised); PNC.
B138 "On Seeing Pictures of the War Dead." The Canadian Forum, Dec. 1944, p. 204. Rpt. in Contemporary Poetry [Baltimore], 6, No. 3 (Autumn 1946), 6-7. Rpt. (revised -- "Ode: The Eumenides") in ellipse, No. 22 (1978), pp. 92, 94, 96. Rpt. trans. Arlette Franciere ("Ode: les eumenides") in ellipse, No. 22 (1978), pp. 93, 95, 97. SE (revised -- "Ode: The Eumenides"); CP (revised); PNC; CS. The revisions which date from 1954 include "Ode: The Eumenides" (B136) as Parts I and III of the poem entitled "Ode: The Eumenides."
B139 "Poem [A spiritual pigeon catapults the ...]." The Canadian Forum, Dec. 1944, P. 204. Rpt. (revised -- "Bird and Flower") in Contemporary Poetry [Baltimore], 6, No. 3 (Autumn 1946), 6. SE (revised); CP (revised); PNC; CS.
B140 "The Common Man." The Canadian Forum, Dec. 1945, p. 213. SE (revised); CP; PNC.
B141 "The Dead." Northern Review, 1, No. 1 (Dec.-Jan. 1945-46), 43-44. SE; CP; PNC.
B142 "Business as Usual." Reading, 1, No. 1 (Feb. 1946), 30. Rpt. (revised) in The Fiddlehead, No. 4 (Feb. 1946), p. [3]. Rpt. in The Fiddlehead. A Canadian Anthology: Poems from The Fiddlehead, 1945-1959, No. 50 (Fall 1961), p. 54. SE (revised -- "Business as Usual: 1946"); CP; (revised); PNC ("Business as Usual 1946").
B143 "Souvenir du Temps Perdu." here and now, 1, No. 2 (May 1948), p. 72. Rpt. in The Tamarack Review, No. 41 (Autumn 1966), p. 21. SE (revised "Souvenirs du Temps Perdu"); CP ("Souvenirs du temps perdu"); PNC; CS ("Souvenirs du Temps Perdu").
B144 "Tree." here and now, 1 (May 1948), p. 72. SE (revised); CP (revised); PNC.
B145 "Narcissus." Contemporary Verse, No. 36 (Fall 1951), pp. 21-22. SE (revised -- "A Dream of Narcissus"); CP; PNC.
B146 "Astraea Redux." CIV/n, No. 6 [1954], p. 11. CP (revised -- "Astraea Redux: Keewaydin Poetry Conference"); PNC.
B147 "On Knowing Nothing." The Nation, 24 March 1956, p. 240. CP (revised -- "On Knowing Nothing"); PNC; CS.
B148 "Eden's Isle." Queen's Quarterly, 63 (Winter 1956-57), [597]. CP; PNC (revised).
B149 ["'I smell, you smell, we all smell,' I wrote. Alas, .... "] The Canadian Forum, Jan. 1957, p. 237. Contained in letter to the editor.
B150 "This Flesh Repudiates the Bone." The Tamarack Review, No. 2 (Winter 1957), p. 38. CP (revised); PNC ("Metamorphosis"); CS.
B151 "What Is That Music High in the Air?". The Tamarack Review, No. 2 (Winter 1957), p. 38. Rpt. (revised) in Michigan's Voices, 2, No. 2 (Winter 1961-62), 13. CP; PNC ("What is That Music High in the Air?"); CS ("What Is That Music High In the Air?").
B152 "What the Emanation of Casey Jones Said to the Medium." The Nation, 12 Jan. 1957, p. 44. CP; PNC; CS (revised).
B153 "On Reading Certain Poems and Epistles of Irving Layton and Louis Dudek." The Canadian Forum, May 1957, pp. 41-42.
B154 "A Narrow Squeak." The Nation, 1 June 1957, p. 483. CP ("A Narrow Squeak: Variations on a Theme of Anne Wilkinson"); PNC; CS.
B155 "The Convolvulus." Pan, No. 2 (1958), n. pag. CP (revised); PNC; CS. Initially printed with "To the Haggard Moon" (B157) and "Wild Raspberry" (B158) under the heading "An Offering: Three Poems for Eustace Ross."
B156 "Thomas Moore and Sweet Annie." Pan, No. 2 (1958), n. pag. CP (revised); PNC; CS.
B157 "To the Haggard Moon." Pan, No. 2 (1958), n. pag. CP; PNC. Initially printed with "The Convolvulus" (B155) and "Wild Raspberry" (B158) under the heading "An Offering: Three Poems for Eustace Ross."
B158 "Wild Raspberry." Pan, No. 2 (1958), n. pag. CP (revised); PNC; CS. Initially printed with "The Convolvulus" (B155) and "To the Haggard Moon" (B157) under the heading "An Offering: Three Poems for Eustace Ross."
B159 "Le Vierge, le Vivace et le Bel Aujourd'hui." The Nation, 11 Jan. 1958, p. 35. CP (revised --"Le Vierge, Le Vivace et Le Bel aujourd'hui"); PNC; CS ("Le Vierge, le Vivace et le Bel Aujourd'hui").
B160 "Variations on a Theme of Cavalcanti." The Nation, 15 March 1958, p. 236. CP (revised -- "A Pastoral"); PNC; CS.
B161 "My Death." Queen's Quarterly, 65 (Summer 1958), [291]. Rpt. (revised -- "My Death") in ellipse, No. 22 (1978), p. 88. Rpt. trans. Louise Gareau-Des Bois ("Ma mort") in ellipse, No. 22 (1978), p. 89. CP (revised -- "My Death"); PNC; CS.
B162 "Song: (Made in Lieu of Many Ornaments)." The Tamarack Review, No. 10 (Winter 1959), p. 35. CP ("Song Made in Lieu of Many Ornaments"); PNC ("Song: Made in Lieu of Many Ornaments").
B163 "Speaking About Death (Blues for Mentor Williams)." The Tamarack Review, No. 10 (Winter 1959), p. 38. Rpt. (revised) in Michigan's Voices, 2, No. 2 (Winter 1961-62), 13. CP ("Speaking about Death: Blues for Mentor Williams"); PNC.
B164 "To Henry Vaughan." The Tamarack Review, No. 10 (Winter 1959), pp. 36-37. CP (Revised); PNC; CS.
B165 "To Jay Macpherson." The Tamarack Review, No. 10 (Winter 1959), p. 37. CP ("To Jay Macpherson on Her Book of Poems"); PNC; CS; OPP.
B166 "Tit for Tat." The Canadian Forum, March 1960, p. 167. Signed: "A. J. M. S."
B167 "To Irving Layton (On His Passion for the First Lady)." The Canadian Forum, April 1961, p. 4. CS (revised -- "To Irving Layton, on His Love Poem to Mrs. Jacqueline Kennedy, Then First Lady").
B168 "At Mycenae." Michigan's Voices, 2, No. 2 (Winter 1961-61), 14.
B169 "Prologue to a Poetry Reading: Address to the Audience." Michigan's Voices, 2, No. 2 (Winter 1961-62), 12.
B170 "The Swan & the Dove." Michigan's Voices, 2, No. 2 (Winter 1961-62), 12.. CP ("The Swan and the Dove"); PNC.
B171 "Walking in a Field, Looking Down and Seeing a White Violet." Canadian Literature, No. 15 (Winter 1963), p. 19. PNC; CS.
B172 "The Devil Take Her-- and Them." The Tamarack Review, No. 26 (Winter 1963), p. 95. Rpt. ("The Devil Take Her -- And Them") in Delta [Montreal], No. 20 (Feb. 1963), p. 23. PNC (revised); OPP ["The Devil Take Her --And Them (1962)"]; CS ("The Devil Take Her -- and Them").
B173 "Equestrian." Delta [Montreal], No. 21 (May 1963), p. 18.
B174 "On Our Haste to Get Nuclear War-Heads." Delta [Montreal], No. 21 (May 1963), p. 28.
B175 "Wedding Night." Delta [Montreal], No. 21 (May 1963), p. 18. Rpt. (revised) in The Tamarack Review, No. 41 (Autumn 1966), p. 21.
B176 "The Adolescence of Leda." The Tamarack Review, No. 29 (Autumn 1963), p. 69. PNC.
B177 "An Iliad for His Summer Sweetheart." The Tamarack Review, No. 29 (Autumn 1963), p. 66. PNC; CS.
B178 "Death and the Lady." Canadian Poetry, 27 (Nov. 1963), 7.
B179 "No Knife Needed." Canadian Poetry, 27 (Nov. 1963), 7. PNC (revised).
B180 "Watching the Old Man Die." The Canadian Forum, Jan. 1964, p. 227. Rpt. (revised) in English Poetry in Quebec: Proceedings of the Foster Poetry Conference October 12-14 1963. Ed. John Glassco. Montreal: McGill Univ. Press, 1965, p. 131. PNC; CS.
B181 "In Memoriam: E.J.P." The Tamarack Review, No. 32. (Summer 1964), pp. 38-39. PNC (revised); CS (revised).
B182 ["'THOSE ARE PEARLS & C.' ..."] Yes, No. 14 (Sept. 1965), p. [30].
B183 "A Little Night Piece." The Tamarack Review, No. 41 (Autumn 1966), p. 20. PNC (revised); CS.
B184 "On the Appointment of Ralph Gustafson, Esq., as Poet in Residence at Bishop's University." The Tamarack Review, No. 41 (Autumn 1966), p. 21. Rpt. in Mitre, No. 2 (1966-67), p. 10. PNC; CS. Signed: "A. J. M. S." in Mitre.
B185 "Souvenirs du Temps Bien Perdu." The Tamarack Review, No. 41 (Autumn 1966), p. 21. PNC ("Souvenirs du temps bien perdu").
B186 "The Taste of Space." Saturday Night, Nov. 1966, p. 48. PNC; CS.
B187 "Poet in Residence." Mitre, No. 2 (1966-67), p. 9. CS ("Poet in Residence, Bishop's University"); OPP ["Poet in Residence, Bishop's University: For Ralph Gustafson (1965)"].
B188 "The Birches." Quarry, 16, No. 4 (Summer 1967), [back cover]. Rpt. (revised) in Canadian Literature, No. 36 (Spring 1968), p. 97. PNC (revised -"Birches at Drummond Point").
B189 "Verses to Frank Scott, Esq. on the Occasion of fits 70th Birthday." McGill News, 50, No. 6 (Nov. 1969), 8. Rpt. (revised -- "To Frank Scott, Esq. on the occasion of his seventieth birthday") m The Canadian Forum, April-May 1970, p. 12. CS ("To Frank Scott, Esq., on the Occasion of His Seventieth Birthday"); OPP ["To Frank Scott, Esq. On the Occasion of his Seventieth Birthday (1969)"].
B190 "Angels exist, and sonnets are not dead." The Canadian Forum, April-May 1970, p. 33. Rpt. (revised -- "Angels Exist, and Sonnets are not Dead") in Red Cedar Review, 7, Nos. 3-4 (Summer 1971), 52. Rpt. (revised) in Outposts [Surry, Eng.], No. 100 (Spring 1974), p. 15. CS (revised -- "Angels Exist, and Sonnets Are Not Dead").
B191 "A Little Death to Laugh About." The Centennial Review, 15 (Fall 1971), 426-27.
B192 "Lines Written on the Occasion of President Nixon's Address to the Nation, May 8, 1972." Poetry [Chicago], 120 (Sept. 1972), 335-36. Rpt. ("Lines Written on the Occasion of President Nixon's Address to the Nation, May 8, 1972") in ellipse, No. 22 (1978), pp. 72, 74. Rpt. trans. Monique Grandmangin ("Lignes ecrites A l'occasion du discours a nation du President Nixon, le 8 mal 1972") in ellipse, No. 22 (1978), pp. 73, 75.
B193 ["A fat willing girl of Toronto ...."] In Colombo's Little Book of Canadian Proverbs, Graffiti, Limericks & Other Vital Matters. Ed. John Robert Colombo. Edmonton: Hurtig, 1975, p. 39.
B194 "On Reading Layton's 'Poetry as the Fine Art of Pugilism.'" Northern Journey, No. 6 (June 1976), p. 97.
B195 "The Wisdom of Old Jelly Roll." ellipse, No. 22 (1978), p. 90. Rpt. trans. Louise Gareau-Des Bois ("La sagesse du vieux Jelly Roll") in ellipse, No. 22 (1978), p. 91. CP; PNC; CS.
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
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Record: 60- Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Reprinted anthology contributions: A selection: Articles
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- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books
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- Burke, Anne (compiler)
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Reprinted anthology contributions: A selection: Articles
Burke, Anne (compiler)
B223 "Wanted -- Canadian Criticism." In Our Sense of Identity: A Book of Canadian Essays. Ed. Malcolm Ross. Toronto: Ryerson, 1954, pp. 217-20.
B224 "Duncan Campbell Scott" (expanded). In Our Living Tradition: Second and Third Series. Ed. Robert L. McDougall. Ottawa/Toronto: Carleton Univ./Univ. of Toronto Press, 1959, pp. 73-94.
B215 "Eclectic Detachment: Aspects of Identity m Canadian Poetry" and "A Reading of Anne Wilkinson." In A Choice of Critics: Selections from Canadian Literature 1964-74. Toronto: Oxford Univ. Press, 1966, pp. 25-35, 113-30.
B226 "Contemporary Poetry," "Introduction to The Oxford Book of Canadian Verse: In English and French" (excerpts), "A Rejected Preface," and "Wanted: Canadian Criticism." In The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 27-33, 38-41, 250-56.
B227 "Canadian Literature: The First Ten Years." In The Sixties: Writers and Writing of the Decade. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, pp. 97-103.
B228 "F. R. Scott and Some of His Poems" and "A Self-Review." In The McGill Movement: A. J. M. Smith, F.R. Scott and Leo Kennedy. Ed. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 82-94, 136-43.
B229 "Some Poems of E. J. Pratt: Aspects of Imagery and Theme." In E. J. Pratt. Ed. David G. Pitt. Toronto: Ryerson, 1969, pp. 139-54.
B230 "Abraham Moses Klein." In A. M. Klein. Ed. and introd. Tom Marshall. Critical Views on Canadian Writers, No. 4. Toronto: Ryerson, 1970, pp. 26-40.
B231 "A Letter" [July 1944] and "Wanted: Canadian Criticism." In Canadian Life and Letters 1920-70: Selections from The Canadian Forum. Toronto: Univ. of Toronto Press, 1972, pp. 56-58, 227.
B232 "Duncan Campbell Scott" (revised) and "The Poetry of Duncan Campbell Scott." In Duncan Campbell Scott: A Book of Criticism. Ottawa: Tecumseh, 1974, pp. 104-34.
B233 "F. R. Scott and Some of His Poems" and "The Poetry of P. K. Page." In Poets and Critics: Essays from Canadian Literature 1966-1974. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1974, pp. 14-25, 80-91.
B234 "A Rejected Preface." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 585.88.
B235 "A United Personality: Birney's Poems." In Earle Birney. Ed. Bruce Nesbitt. Critical Views on Canadian Writers, No. 9. Toronto: McGraw-Hill Ryerson, 1974, pp. 141-49.
B236 "The Fredericton Poets." In Twentieth Century Essays on Confederation Literature. Ed. Lorraine McMullen. Ottawa: Tecumseh, 1976, pp. 128-39.
B237 "A Rejected Preface." In New Provinces: Poems of Several Authors. Ed. A. J. M. Smith, F. R. Scott, et al. 2nd ed. Introd. Michael Gnarowski. Literature of Canada: Poetry and Prose in Reprint, No. 20. Toronto: Univ. of Toronto Press, 1976, pp. [xxvii]-xxxii.
B238 "'The Recent Poetry of Irving Layton: A Major Voice." In Irving Layton: The Poet and His Critics. Ed. and introd. Seymour Mayne. Critical Views on Canadian Writers, No. 12. Toronto: McGraw-Hill Ryerson, 1978, pp. 43-48.
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
Item Number: ABCMA04ASP1000004004002003
Record: 61- Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Reprinted anthology contributions: A selection; Poems
- Other Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP1
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Reprinted anthology contributions: A selection; Poems
Burke, Anne (compiler)
B196 "Universe into Stone." In The Best Poems of 1934Ed. Thomas Moult. London: Jonathan Cape, 1934, pp. 79-80.
B197 "The Creek," "Epitaph," "In the Wilderness," "Like an Old Proud King in a Parable," "The Lonely Land," "News of the Phoenix," "The Offices of the First and the Second Hour," "Prothalamium," "Shadows There Are," "A Soldier's Ghost," "To a Young Poet," and "The Two Sides of a Drum." In New Provinces: Poems of Several Authors. Ed. A.J.M. Smith, F.R. Scott, et al. Toronto: Macmillan, 1936, pp. 65-77.
B198 "The Lonely Land" and "The Two Sides of a Drum." In New Harvesting: Contemporary Canadian Poetry, 1918-1938. Ed. Ethel Hume. Toronto: Macmillan, 1939, pp. 177-80.
B199 "Good Friday," "Like an Old Proud King in a Parable," "Prothalamium," and "Shadows There Are." In New Michigan Verse. Ed. Carl Edwin. Ann Arbor: Univ. of Michigan Press, 1940, pp. 40-43.
B200 "For Healing," "Good Friday," "The Lonely Land," "News of the Phoenix," "The Offices of The First and the Second Hour, .... The Plot against Proteus," and "Prothalamium." In An Anthology of Canadian Poetry (English). Ed. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1942, pp. 81-85.
B201 "I Shall Remember" and "Ode: On the Death of W.B. Yeats." In A Little Anthology of Canadian Poets. Ed. Ralph Gustafson. Norfolk, Conn.: New Directions, 1943, pp. [13, 14].
B202 "Ode: On the Death of W. B. Yeats." In Canadian Accent: A Collection of Stones and Poems by Contemporary Writers from Canada. Ed. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1944, p. 67.
B203 "Good Friday." In Masterpieces of Religious Verse. Ed. James Dalton. New York: Harper Brothers, 1948, p. 185.
B204 "Ballade un peu banale." In The Worldly Muse: An Anthology of Serious Light Verse. Ed. and introd. A. J. M. Smith. Toronto: McLeod, 1951, pp. 21415.
B205 "Far West," "A Hyacinth for Edith," and "The Lonely Land." In Canadian Poems: 1850-1952. Ed. Lores Dudek and Irving Layton. 2nd ed. Toronto: Contact, 1952, pp. 64-66.
B206 "A Hyacinth for Edith" and "The Mermaid." In 20th Century Canadian Poetry: An Anthology. Ed. Earle Birney. Toronto: Ryerson, 1953, pp. 20, 96.
B207 "The Fountain," "Good Friday," "The Lonely Land," and "Prothalamium." In Canadian Poetry in English. Ed. Bliss Carman, Lorne Pierce, and V. B. Rhodenizer. Rev. and enl. ed. Toronto: Ryerson, 1954, pp. 309-11.
B208 "The Archer," "Brigadier," "Business as Usual," "Far West," "Fear as Normal," "A Hyacinth for Edith," "News of the Phoenix," "Noctambule," "Ode: On the Death of William Butler Yeats," "Ode: The Eumenides," and "The Plot against Proteus." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. A. J. M. Smith. 3rd ed. Toronto: Gage, 1957, pp. 310-16.
B209 "Ballade un peu banale." In The Silver Treasury of Light Verse. Ed. Oscar Williams. New York: Mentor, 1957, p. 211.
B210 "The Archer," "Far West," "Ode: On the Death of William Butler Yeats," "The Plot against Proteus," "Sonnet," and "Universe into Stone." In The Penguin Book of Canadian Verse. Ed. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1958, pp. 139-43.
B211 "The Archer," "Like an Old Proud King m a Parable," "My Death," "Ode: On the Death of William Butler Yeats," "The Plot against Proteus," and "To Henry Vaughan." In The Oxford Book of Canadian Verse: In English and French. Ed. A.J.M. Smith. Toronto: Macmillan, 1960, pp. 209-14.
B212 "Field of Long Grass," "The Sorcerer," and "To Anthea." In Love Where the Nights Are Long. Ed. Irving Layton. Toronto: McClelland and Stewart, 1962, pp. 54, 65, 76.
B213 "This Flesh Repudiates the Bone," "To Henry Vaughan," and "What Is That Music High in the Air?". In The First Five Years: Selections from The Tamarack Review. Ed. Robert Weaver. Toronto: Oxford Univ. Press, 1962, pp. 113-15.
B214 "At Twenty-Six," "Song of the Tractor," and "When I Was a Thrush." In The Plough and the Pen: Writings from Hungary 1930-1956. Ed. Ilona Duzyfiska and Karl Polanyi. Toronto: McClelland and Stewart, 1963, pp. 187, 198, 204.
B215 "The Archer," "Bird and Flower," "Far West," "The Fountain," "A Hyacinth for Edith," "The Lonely Land," "News of the Phoenix," "Ode: On the Death of William Butler Yeats," "On Knowing Nothing," "Sea Cliff," "Son-and-Heir," "The Sorcerer," "Swift Current," "To Hold m a Poem," "Universe into Stone," and "The Wisdom of Old Jelly Roll." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 2nd ed. Toronto: Gage, 1966, pp. 276-82.
B216 "The Archer," "Astraea Redux: Keewaydin Poetry Conference," "Brigadier," "Chinoisene," "Choros," "The Circle," "Field of Long Grass," "The Fountain," "A Hyacinth for Edith," "I Shall Remember," "In the Wilderness," "Like an Old Proud King m a Parable," "The Lonely Land," "The Mermaid," "A Narrow Squeak," "News of the Phoenix," "No Treasure," "On Knowing Nothing," "The Plot against Proteus," "Prothalamium," "Quietly to Be Quickly of Other or Ether," "Sea Cliff," "The Shrouding," "The Sorcerer," "Swift Current," "Thomas Moore and Sweet Annie," "To the Haggard Moon," "To Henry Vaughan," "To a Young Poet," "What the Emanation of Casey Jones Said to the Medium," and "The Wisdom of Old Jelly Roll." In Poets Between the Wars: E. J. Pratt, F. R. Scott, A. J. M. Smith, Dorothy Livesay, A. M. Klein. Ed. Milton Wilson. New Canadian Library Original, No. O5. Toronto: McClelland and Stewart, 1967, pp. 103-24.
B217 "Ballade un peu banale," "Brigadier," "News of the Phoenix," "Resurrection of Arp," "Watching the Old Man Die," and "What the Emanation of Casey Jones Said to the Medium." In Modern Canadian Verse: In English and French. Ed. and introd. A. J. M. Smith. Toronto: Oxford Univ. Press, 1967, pp. 48-54.
B218 "The McGill Daily," "On Reading Certain Poems & Epistles by Irving Layton & Louis Dudek," "On Reading an Anthology of Popular Poetry," "Political Intelligence," "A Portrait and a Prophecy," "Resurrection of Arp," "Souvenirs du Temps Perdu," "The Taste of Space," and "To Irving Layton, on His Love Poems to Mrs. Jacqueline Kennedy." In The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadian Writers. Ed. and introd. A.J.M. Smith and F. R. Scott. 2nd ed. Toronto: Macmillan, 1967, pp. 79, 110, 120, 121, 124, 125, 131, 146.
B219 "Cantos (I)," by Gerald Godin, trans. A.J.M. Smith and John Glassco; "For Maria," by Gerald Godin, trans. A.J.M. Smith and John Glassco; "The Hunter," by Eloi de Grandmont, trans. A.J.M. Smith; "Le jour hallucine," by Michele Lalonde, trans. A.J.M. Smith; "Perdrix," by Paul Morin, trans. A.J.M. Smith; "The Poor," by Joseph-Arthur Lapointe, trans. A.J.M. Smith; "Right You Are, My Brigadier," by anon., trans. A. J. M. Smith; "The Ship of Gold," by Emile Nelligan, trans. A.J.M. Smith; and "Song," by Gilles Vigneault, trans. A. J. M. Smith. In The Poetry of French Canada in Translation. Ed. and introd. John Glassco. Toronto: Oxford Univ. Press, 1970, pp. 13-14, 38, 42, 58, 153-54, 174, 130, 241-43, 244-45.
B220 "News of the Phoenix." In Exploring Poetry. Ed. and introd. A.J.M. Smith and M.L. Rosenthal. New York: 1973, P. 401.
B221 "Beside One Dead," ["From little sorrows little poems come ..."], "The Taste of Space," "The Two Sides of a Drum," and "To Jay Macpherson on Her Book of Poems." In To Say the Least: Canadian Poets from A to Z. Ed. and introd. P. K. Page. Toronto: Porcepic, 1979, pp. 33, 40, 78, 80, 109.
B222 "The Adolescence of Leda," "The Fountain," "Like an Old Proud King in a Parable," "The Lonely Land," "News of the Phoenix," and "Ode: On the Death of William Butler Yeats." In Introduction to Poetry: British, American, Canadian. Ed. Jack David and Robert Lecker. Toronto: Holt, Rinehart and Winston, 1981, pp. 567-69.
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
Item Number: ABCMA04ASP1000004004002002
Record: 62- Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Reviews
- Other Title:
- Part 1 Works By A.J.M. Smith; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP1
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M. Smith; Contributions to periodicals and books; Reviews
Burke, Anne (compiler)
B362 Rev. of Success, by Lord Beaverbrook. McGill Daily. "The Dilettante," 2-9 Nov. 1922, p. 3. Signed: "S."
B363 Rev. of Tramping with a Poet in the Rockies, by Stephen Graham. McGill Daily. "The Dilettante," 6 Dec. 1922, p. 3. Signed: "S."
B364 Rev. of From Shakespeare to Hardy: An Anthology of English Verse, ed. A. Methuen. McGill Daily. "The Dilettante," 2-4 Jan. 1923, p. 3. Signed: "S."
B365 Rev. of Where the Blue Begins, by Christopher Morley. McGill Daily. "The Dilettante," 7 Feb. 1923, p. 3. Signed: "S."
B366 Rev. of The Gingham Girl. McGill Daily. "The Dilettante," 5 Dec. 1923, p. 3. Signed: "Tomfool."
B367 Rev. of St. Francis of Assisi, by G. K. Chesterton. McGill Daily. "The Dilettante," 19 Dec. 1923, p. 3. Signed: "Tom fool."
B368 Rev. of So This Is London. McGill Daily. "The Dilettante," 13 Feb. 1924, p. 3. Signed: "Tomfool."
B369 Rev. of Last Poems, by A.E. Housman. McGill Daily. "The Dilettante," 27 Feb. 1924, p. 3. Ascribed to A. J. M. Smith. Signed: "Jay Ess."
B370 Rev. of Leap Year Lapses. McGill Daily. "The Dilettante," 27 Feb. 1924, p. 3. Signed: "Tomfool."
B371 Rev. of Parodies on Walt Whitman, ed. Henry S. Saunders. McGill Daily. "The Dilettante," 12 March 1924, p. 3. Ascribed to A. J. M. Smith. Signed: "Jay Ess."
B372 Rev. of Paradise Lost, by John Milton. Montreal Daily. "The Dilly-Dally." 25 March, 1924, p. 3. Rpt. in The Saturday Evening Post, 4 April 1925, p. 124. Parody issue of The McGill Daily. Ascribed to A.J.M. Smith. Originally signed: "Damfull."
B373 "Distressing Dialogue." Rev. of Distressing Dialogues, by Nancy Boyd. McGill Daily Literary Supplement, 8 Oct. 1924, p. 4. Signed: "Tomfool."
B374 "His Majesty's Presents Well Acted Comedy." Rev. of The Goose Hangs High, by Lewis Beach. McGill Daily Literary Supplement, 8 Oct. 1924, p. 3. Signed: "A. J. M. S."
B375 "The Whitherward of Science." Rev. of Daedalus, by J.B.S. Haldane. McGill Daily Literary Supplement, 8 Oct. 1924, pp. 1, 4. Part one of a two-part review.
B376 "Julia Arthur in 'Saint Joan' -- Great Acting in Great Play." Rev. of Saint Joan, by G. B. Shaw. McGill Daily Literary Supplement, 15 Oct. 1924, pp. 3-4. Published anonymously.
B377 "The Whitherward of Science." Rev. of Icarus, by Bertrand Russell. McGill Daily Literary Supplement, 15 Oct. 1924, pp. 2, 4. A continuation of the October 8 review.
B378 "London Actors in Crude Drama of Mystery." Rev. of Bulldog Drummond, by Sapper [Herman Cyril McNeile]. McGill Daily Literary Supplement, 22 Oct. 1924, p. 3. Signed: "A. J. M. S."
B379 "Cleverness Dominates Princess Bill." Rev. of vaudeville. McGill Daily Literary Supplement, 29 Oct. 1924, p. 3. Signed "A. J. M. S."
B380 "Conrad Again." Rev. of The Nature of a Crime, by Joseph Conrad and Ford Madox Ford. McGill Daily Literary Supplement, 5 Nov. 1924, p. 4. Signed: "A. J. M. S."
B381 "The Dumbbells Come Again in Sixth Review." Rev. of Ace High. McGill Daily Literary Supplement, 12 Nov. 1924, p. 3. Signed: "A. J. M. S."
B382 "Isa Kremer." Rev. of Isa Kremer's performance at the Orpheum. McGill Daily Literary Supplement, 12 Nov. 1924, p. 3. Signed: "A. J. M. S."
B383 "The Passing Pageant." Rev. of Leviathan, by William Bolitho. McGill Daily Literary Supplement, 26 Nov. 1924, p. 4. Signed: "A. J. M. S."
B384 "Witty Satire, Song and Comedy in Chariot's Revue." Rev. of Chariot's Revue. McGill Daily Literary Supplement, 26 Nov. 1924, p. 3. Signed: "A. J. M. S."
B385 "Princess Show Not up to Par." Rev. of vaudeville. McGill Daily Literary Supplement, 3 Dec. 1924, p. 3. Signed: "A. J. M. S."
B386 "A Study in Black." Rev. of The Fire in the Flint, by Walter F. White. McGill Daily Literary Supplement, 10 Dec. 1924, pp. 1, 4. Signed: "A. J. M. S."
B387 "'Thief of Bagdad,' A Motion Picture of Rare Beauty." Rev. of Thief of Bagdad. McGill Daily Literary Supplement, 10 Dec. 1924, p. 3. Signed: "A. J. M. S."
B388 "The Princess." Rev. of vaudeville. McGill Daily, 17 Dec. 1924, p. 3. Signed: "A. J. M. S."
B389 "The New Spoon River." Rev. of The New Spoon River, by Edgar Lee Masters. McGill Daily Literary Supplement, 19 Dec. 1924, pp. 2, 4. Signed: "A. J. M. S."
B390 "Another Belle Dame sans Merci." Rev. of The Green Hat, by Michael Arlen. McGill Daily Literary Supplement, 28 Jan. 1925, pp. 1, 4. Signed: "A. J. M. S."
B391 "Artists and Models at His Majesty's." Theatre review. McGill Daily Literary Supplement, 28 Jan. 1925, p. 3. Signed: "A. J. M. S."
B392 "Little Jessie James Bright Musical Entertainment." Rev. of Little Jessie James. McGill Daily Literary Supplement, 4 Feb. 1925, p. 4.
B393 "Parisian Players in Artificial Comedy at The Orpheum." Rev. of L'Ane de Buridon, by Robert de Flers. McGill Daily Literary Supplement, 11 Feb. 1925, p. 3. Signed: "A. J. M. S."
B394 "Clever Satire on Minor Babbitry Seen in The Potters." Rev. of The Potters, by J. P. McEvoy. McGill Daily Literary Supplement, 18 Feb. 1925, p. 3. Signed: "A. J. M. S."
B395 "A Venture in Opinion." Rev. of The Canadian Student. McGill Daily Literary Supplement, 18 Feb. 1925, p. 3. Signed: "A. J. M. S."
B396 "'Sitting Pretty' Should Prove Attractive to Tired Students." Rev. of Sitting Pretty, by Bolton, Wodehouse, and Kern. McGill Daily Literary Supplement, 11 March 1925, p. 3. Signed: "A. J. M. S."
B397 "His Majesty's." Rev. of Liliom, by Franz Molnar. McGill Daily, 17 March 1925, p. 4. Signed: "A. J. M. S."
B398 Rev. of The Unknown Goddess, by Humbert Wolfe. McGill Fortnightly Review, 9 Jan. 1926, p.34. Signed: "S."
B399 Rev. of The Cure of St. Michel, by Maurice Caron. McGill Fortnightly Review, 20 Feb. 1926, p. 57. Signed: "S."
B400 Rev. of The World of William Clissold, by H. G. Wells. McGill Fortnightly Review, 3 Nov. 1926, p. 8. Published anonymously.
B401 Rev. of In a Venetian Garden [and] St. Ursula, by Amy Redpath Rodderick. McGill Fortnightly Review, 18 Feb. 1927, p. 48. Published anonymously.
B402 Rev. of Enough Rope, by Dorothy Parker. McGill Fortnightly Review, 10 March 1927, p. 56. Published anonymously.
B403 "A Tract for the Times." Rev. of The Coming of Christ, by John Masefield. The Canadian Forum, Sept. 1928, p. 791.
B404 Rev. of White Fire, by John Ravenor Bullen; and The Lyric Flute, by Reuben Butchart. The Canadian Forum, Oct. 1928, p. 31. Signed: "A. J. M. S."
B405 "The Sense of Place." Rev. of Foretaste, by Peggy Pond Church. Poetry [Chicago], 44 (Sept. 1934), 340-42.
B406 "A Faulty Reach." Rev. of The Nettle and the Flower, by Kenneth Muir. Poetry [Chicago], 45 (Nov. 1934), 106-07.
B407 "The Women of Lissadell." Rev. of Selected Poems, by Eva Gore-Booth; and Prison Letters of Countess Markievicz, by Constance Gore-Booth. Poetry [Chicago], 45 (Jan. 1935), 214-17.
B408 "Observations on Marianne Moore." Rev. of Selected Poems, by Marianne Moore. The Rocking-Horse [Univ. of Wisconsin], 2, No. 4 (Summer 1935), 26-29.
B409 "Old Game, New Rules." Rev. of Poems, by W. H. Auden. Poetry [Chicago], 47 (Oct. 1935), 43-46.
B410 "American Primitives." Rev. of Fightery Dick and Other Poems, by Derrick Norman Lehmer; Turkey in the Straw, by MacKinley Kantor; and Westering, by Thomas Hornsby Fernl. Poetry [Chicago], 48 (June 1936), 169-72.
B411 "Language of the Wound." Rev. of Passport to the War, by Stanley Kunitz. Poetry [Chicago], 64 (June 1944), 165-68.
B412 "The Golden Mirror." Rev. of The Golden Mirror, by Marya Zaturenska. Poetry [Chicago], 65 (Dec. 1944), 150-52.
B413 Rev. of On Canadian Poetry, by E. K. Brown; Sir Charles G.D. Roberts: A Biography, by E.M. Pomeroy; and Wilfred Campbell: A Study in Late Provincial Victorianism, by Carl F. Klinck. Canadian Historical Review, 25 (June 1944), 19699. OPP ["Critics and Biographers: A Review (1944)"].
B414 "Five Poets." Rev. of Five Young American Poets: Third Series, 1944, by Eve Merriam, John Frederick Nims, Jean Garrigue, Tennessee Williams, and Alejandro Carrion. Poetry [Chicago], 66 (May 1945), 95-100.
B415 "New Canadian Poetry." Rev. of As Ten, As Twenty, by P. K. Page; and The White Centre, by Patrick Anderson. The Canadian Forum, Feb. 1947, pp. 250-52.
B416 "Turning New Leaves." Rev. of Poems, by Robert Finch; and East of the City, by Lores Dudek. The Canadian Forum, May 1947, pp. 42-43.
B417 Rev. of A Pocketful of Canada, ed. John D. Robins. Canadian Historical Review, 28 (June 1947), 21617.
B418 "The Uneven Maturing Man." Rev. of The Spectre Image, by John Nerber. Poetry [Chicago], 70 (June 1947), 155-59.
B419 Rev. of Poems, by Samuel Greenberg. Canadian Poetry Magazine, 11, No. 2 (Dec. 1947), 47. Signed: "A. J. M. S."
B420 Rev. of Border River, by A.G. Bailey. Queen's Quarterly, 60 (Autumn 1953), 420-21.
B421 "The Recent Poetry of Irving Layton: A Major Voice." Rev. of The Cold Green Element and The Blue Propeller, by Irving Layton. Queen's Quarterly, 61 (Winter 1956), 587-91. OPP ["A Salute to Layton: In Praise of his Earliest Masterpieces (1956)"].
B422 "Critical Improvisations on Margaret Avison's 'Winter Sun.'" Rev. of Winter Sun, by Margaret Avison. The Tamarack Review, No. 18 (Winter 1961), pp. 81-86. TVCL (revised -- "Critical Improvisations on Margaret Avison's Winter Sun").
B423 Rev. of Poetry '62, ed. Eli Mandel and Jean-Guy Pilon. Queen's Quarterly, 69 (Autumn 1962), [461]-62.
B424 "'This Is a Funny Book.'" Rev. of Lady Chatterly Latterly, by Walter O'Hearn. The Montreal Star, 2 Nov. 1963, Sec. Entertainments, p. 5.
B425 "The Critic's Task: Frye's Latest Work." Rev. of The Well-Tempered Critic, by Northrop Frye. Canadian Literature, No. 20 (Spring 1964), pp. 614.
B426 Rev. of The Esdaile Notebook, by Percy Bysshe Shelley, ed. Kenneth Neill Cameron. McGill News, June 1964, p. 26.
B427 Rev. of Faith and Fiction: Creative Process in Greene and Mauriac, by Philip Stratford. Queen's Quarterly, 72 (Summer 1965), 419.
B428 "A Survey of English-Canadian Letters." Rev. of Literary History of Canada: Canadian Literature in English, gen. ed. and introd. Carl F. Klinck. University of Toronto Quarterly, 35 (Oct. 1965), 107-16. TVCL ("A Survey of English-Canadian Letters -- A Review").
B429 "A Fatal Mistake." Rev. of Charles Mair: Literary Nationalist, by Norman Shrive. Canadian Literature, No. 27 (Winter 1966), pp. 59-61.
B430 "Margaret Avison's New Book." Rev. of The Dumbfounding, by Margaret Avison. The Canadian Forum, Sept. 1966, pp. 132-34.
B431 Rev. of Thanks for a Drowned Island, by A. G. Bailey. Dalhousie Review, 53 (Winter 1973-74), 752-55. OPP ["The Poetics of Alfred G. Bailey (1974)"].
B432 "Wandering Gentile, Homebody Jew." Rev. of Return to Canada: Selected Poems, by Patrick Anderson; and The Poems of Irving Layton, ed. Eli Mandel. Books in Canada, June-July 1977, pp. 1819.
B433 "Smith on Jones." Rev. of Under the Thunder the Flowers Light Up the Earth, by D. G. Jones. The Montreal Star, 25 Feb. 1978, p. D3.
B434 "And Some Were Intended to Sell." Rev. of The New Oxford Book of Light Verse, ed. Kingsley Amis. The Tamarack Review, No. 76 (Winter 1979), pp. 97-101.
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
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B254 "Etude on a Mean Soul." McGill Daily. "The Dilettante," 31 Jan. 1923, p. 3. Signed: "S."
B255 "Our Daphne." McGill Daily. "The Dilettante," 31 Oct. 1923, p. 3 Signed: "Tom fool."
B256 "The Apple Tree." McGill Daily Literary Supplement, 19 Nov. 1924, pp. 2-3.
B257 "The Camel and the Needle's Eye." McGill Daily Literary Supplement, 4 Feb. 1925, p. 1.
B258 "Saved by Grace or A Sign from Above." McGill Fortnightly Review, 9 Jan. 1926, p. 26. Signed: "Simeon Lamb."
B259 "In Praise of Older Men." Saturday Night, Jan. 1966, pp. 24, 26-27. Signed: "Anna Alopecia."
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
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- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
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Burke, Anne (compiler)
B239 "The Wanderer." McGill Daily Literary Supplement, 18 Feb. 1925, p. 1. Adapted from the Anglo-Saxon. Signed: "A. J. M. S."
B240 "Chinoiserie." McGill Daily Literary Supplement, 4 March 1925, p. 3. Translated from the Chinese of the fourth century A.D. Signed: "Vincent Starr" and R. S. M'Ing.
B241 "Brigadier." Contemporary Verse, No. 24 (Spring 1948), pp. 8-9. SE (revised); CP; PNC; CS. Translated from an anonymous French folksong.
B242 --, and George Joyaux. "The Important Personage and the Guardian Angel." CIV/n, No. 6 [1954], p. 12. Rpt. in The Nation, 7 Dec. 1957, p. 440. Translated from the French of Jacques Prevert.
B243 --, and George Joyaux. "The Keys of the City." CIV/n, No. 6 [1954], pp. 12-13. Translated from the French of Jacques Prevert.
B244 --, and George Joyaux. "May Song." The Nation, 16 Nov. 1957, p. 375. CP; PNC; CS. Translated from the French of Jacques Prevert.
B245 "Pastel." In Henry James: The Conquest of London: 1870-1883. By Leon Edel. London: Rupert Hart-Davis, 1962, p. 224. CP; PNC.
B246 "Song of the Tractor." In The Plough and the Pen: Writings from Hungary: 1930-1956. Ed. Ilona Duzyfiska and Karl Polanyi. Toronto: McClelland and Stewart, 1963, p. 198.
B247 "The Hippopotamus." The Tamarack Review, No. 29 (Autumn 1963), p. 68. PNC. Translated from the French of Theophile Gautier.
B248 "Perdrix." The Tamarack Review, No. 41 (Autumn 1966), p. 19. PNC (revised). Translated from the French of Paul Morin.
B249 --, and John Glassco. "Cantos (I)." In The Poetry of French Canada in Translation. Ed. John Glassco. Toronto: Oxford Univ. Press, 1970, pp. 244-45. Translated from the French of Gerald Godin.
B250 --, and John Glassco. "For Maria." In The Poetry of French Canada in Translation. Ed. John Glassco. Toronto: Oxford Univ. Press, 1970, pp. 242-43. Translated from the French of Gerald Godin.
B251 "Le jour hallucine." In The Poetry of French Canada in Translation. Ed. John Glassco. Toronto: Oxford Univ. Press, 1970, p. 230. Translated from the French of Michele Lalonde.
B252 "The Poor." In The Poetry of French Canada in Translation. Ed. John Glassco. Toronto: Oxford Univ. Press, 1970, p. 38. Translated from the French of Joseph-Arthur Lapointe.
B253 "Song." In The Poetry of French Canada in Translation. Ed. John Glassco. Toronto: Oxford Univ. Press, 1970, p. 174. Translated from the French of Gilles Vigneault.
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- Still, Robert (compiler)
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- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
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A45 Social Planning for Canada. Toronto: Nelson, 1935. xvi, 528 pp.
Toronto: Univ. of Toronto Press, n.d. 528 pp.
A46 Alexander Brady, eds. Canada after the War: Studies in Political, Social, and Economic Policies for Post-War Canada. Toronto: Macmillan, 1944. 368 pp. Issued under the auspices of the Canadian Institute of International Affairs.
A47 A. J. M. Smith, eds. The Blasted Pine: An Anthology of Satire, Invective and Disrespectful Verse, Chiefly by Canadian Writers. Toronto: Macmillan, 1957. xix, 138 pp.
Toronto: Macmillan, 1967. xx, 166 pp.
A48 Michael Oliver, eds. Quebec States Her Case: Speeches and Articles from Quebec in the Years of Unrest. Toronto: Macmillan, 1964. 165 pp.
A49 Poems of French Canada. Burnaby, B.C.: Blackfish, 1977. vi, 59 pp.
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- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
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A51 McGill Fortnightly Review. Editor, 21 Nov. 1925-27 April 1927.
A52 Canadian Mercury. Editor, 1 (Dec. 1928)-1 (June 1929).
A53 The Canadian Forum. Co-Editor, 1930-39.
A54 Preview. Editor, No. 1 (March 1942)-No. 22 (Dec. 1944).
A55 Northern Review. Editor, 1, No. 1 (Dec. 1945)-1, No. 5 (Aug.-Sept. 1947).
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- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
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A43 "The Annexation of Savoy and Nice by Napoleon III, 1860." B. Litt. Oxford 1923.
A44 Anne Hebert. Anne Hebert et Frank Scott: Dialogue sur la traduction. Sur Parole/Foreword Northrop Frye. Ed. Jeanne Lapointe. Montreal: HMH, 1970. 110 pp. Includes "La traduction: Dialogue entre le traducteur et l'auteur" (B455).
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- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
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Source: Part 1: Works By F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 206-239
Part 1 Works By F.R. Scott; Books; Poetry
Still, Robert (compiler)
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A1 Overture: Poems. Toronto: Ryerson, 1945. 79 pp. Includes "Abstract" (B18), "Advice" (B57), "Armageddon" (B61), "Autumnal," "The Barons" (B65), "Bedside" (B74), "Below Quebec" (B17), "Bookworm," "Boston Tea Party: 1940" (B59), "Burlap Graduates" (B34), "Calvary," "The Canadian Authors Meet" (B29), "The Clearing," "Conflict" (B52), "Dedication" (B50), "Devoir Molluscule" (B55), "Dialogue" (B53), "Disinherited," "Eclipses," "Enemies" (B68), "Epitaphs: Financier [B39], Lawyer [B40], Professor" (B46), "Examiner" (B66), "Flux" (B62), "For R.A.S. [1923-1943]" (B67), "Full Valleys" (B56), "Grey Morning" (B43), "Hardest It Is" (B64), "Laurentian," "Lest We Forget," "Lost Syllable," "March Field" (B33), "Mural," "Noctambule," "North Stream," "November Pool" (B21), "Ode to a Politician" (B60), "Old Song" (B31), "Overture," "Paradise Lost" (B63), "Passer-By," "Recovery" (B58), "Resurrection" (B71), "Return to Dream," "Saturday Sundae" (B72), "Snowdrift" (B22), "Social Notes" (B44), "Social Notes" (B45), "Spain: 1937," "Spring: 1941," "Surfaces," "Teleological," "To Certain Friends" (B54), "Torpedo Descending," "Tourist Time" (B37), "Trans Canada" (B70), "Trees in Ice" (B42), "Umon," "Vagrant" (B30), "Villanelle for Our Time" (B73), "War," "War News" (B76), and "Windfall" (B75).
A2 Events and Signals. Toronto: Ryerson, 1954. 58 pp. Includes "A L'Ange Avantgardien," "Ann Frank," "Bangkok," "The Bird" (B79), "Bonne Entente" (B98), "Burlap Revisited," "Calamity." "The Canadian Social Register" (B85), "Caring" (B99), "Carlos Cat," "Charity," "Coi1," "Command of the Air" (B81), "Departure" (B122), "Eden" (B82), "Finis the Cenci," "For Bryan Priestman" (B86), "For Cathy Fiscus" (B87), "The Forerunner" (B160), "For Pegi Nicol" (B88), "A Gram of Rice," "I Am Employed," "Invert" (B100), "Lakeshore" (B91), "Last Rites" (B95), "Laurentian Shield" (B77), "Lesson" (B92), "Martinigram," "Meeting," "Memory" (B96), "Message," "Monarchy," "My Amoeba Is Unaware" (B101), "My Eyes a River," "On the Death of Gandhi" (B94), "Picnic" (B93), "Picture m Life" (B89), "Poetry" (B102), "Prison," "Prizes," "Return," "Signature" (B83), "Social Sonnets I [The Chairman called the proxies to order at ten ...]," "Social Sonnets II [Take a look at the Sat Eve Post ...]" (B103), "Some Privy Counsel" (B90), "The Spring Virgin Cries at Her Cult" (B80), "Stone," "St. Peter's," "Translations from Anne Hebert: I. A Mask for a Holiday [B162], II. The Lean Girl [B161], III. Ancestral Manor, IV. Someone Could Certainly Be Found," "Water," and "Will to Win" (B84).
A3 The Eye of the Needle: Satires, Sorties, Sundries. Montreal: Contact, 1957. 71 pp. Includes "All the Spikes but the Last," "The Barons" (B65), "Beverage Room," "Bonne Entente" (B98), "Boston Tea Party: 1940" (B59), "Brebeuf and His Brethren," "Burlap Comes to McGill" (B13), "Burlap Graduates" (B34), "Calamity" (A2), "The Call of the Wild," "The Canadian Authors Meet" (B29), "Canadian Culture," "The Canadian Social Register" (B85), "Command of the Air" (B81), "Company Meeting," "Decay of Cleric" (B38), "Eden" (B82), "Efficiency" (B45), "Epitaphs: Financier [B39], Lawyer [B40], Professor" (B46), "The Founding of Montreal" (B106), "Give a Pint: Save a Life," "Lest We Forget" (A1), "Lines" (B14), "Martinigram" (A2), "Mural" (A1), "Ode to a Politician" (B60), "Ode to Confederation," "Orderly Decontrol: 1947" (B78), "Pengourdine," "Picture in Life" (B89), "Practical Men," "Press Report" (B107), "Saturday Sundae" (B72), "Social Notes" (B44), "Social Notes: General Election, 1935" (B45), "Sofa Rhyme," "Some Privy Counsel" (B90), "St. Jean Baptiste Parade," "Street Cry," "Tea Time," "Teleological" (A1), "To Certain Friends" (B54), "Tourist Time" (B37), "Tribute," "Vagrant" (B30), "We Never Had It So Good," and "W. L. M. K."
A4 Signature. Vancouver: Klanak, 1964. 56 pp. Includes "Audacity," "Autumn Lake 1," "Autumn Lake 2," "The Bartail Cock" (B117), "Books of Poems" (B110), "Christmas," "Cloth of Gold" (B105), "Coelocanth," "Conversion," "Creed," "Days," "Degeneration," "Dew Lines" (B108), "Diagonals: Lips [B120], Hands" (B121), "Echo," "Eclipse" (B125), "Excursion," "Flying to Fort Smith" (B111), "General Election 1958" (B113), "Girl Running Down Hill," "Good Bye to All That" (B123), "Heart," "A Hill for Leopardi," "Incident at May Pond," "Is" (B112), "Japanese Sand Garden," "Journey," "A Lass in Wonderland," "Mackenzie River," "Mount Royal," "New Names" (B19), "Night Club," "No Curtain" (B118), "On Watching Margaret Dying," "Plane Landing in Tokyo," "Polynesian," "The Seed Thrower," "Signature," "St. Boniface" (B104), "Time as Now," "To the Poets of India" (B119), "Unison," "Vision," "Waiting," "Was," and "Yes and No" (B109).
A5 Selected Poems. Toronto: Oxford Univ. Press, 1966. 177 pp. Includes "Abstract" (B18), "Advice" (B57), "A l'ange avantgardien" (A2), "All the Spikes but the Last" (A3), "Armageddon" (B61), "Audacity" (A4), "Autumnal" (A1), "Autumn Lake I" (A4), "Autumn Lake II" (A4), "Bangkok" (A2), "Bedside" (B74), "Below Quebec" (B17), "The Bird" (B79), "Bonne Entente" (B98), "Books of Poems" (B110), "Boston Tea Party 1940" (B59), "Brebeuf and His Brethren" (A3), "The Canadian Authors Meet" (B29), "The Canadian Social Register" (B85), "Caring" (B99), "Charity" (A2), "The Clearing" (A1), "Cloth of Gold" (B105), "Coil" (A2), "Company Meeting" (A3), "Conflict" (B52), "Creed" (A4), "Dedication" (B50), "Degeneration" (A4), "Departure" (B122), "Devoir Molluscule" (B55), "Dialogue" (B53), "Eclipse" (B125), "Eclipses" (A1), "Eden" (B82), "Enemies" (B68), "Examiner" (B66), "Excursion" (A4), "Finis the Cenci" (A2), "Flux" (B62), "Flying to Fort Smith" (B111), "For Bryan Priestman" (B86), "For Pegi Nicol" (B88), "For R. A. S. 1925-1943" (B67), "The Game" (B166), "Girl Running Down Hill" (A4), "A Grain of Rice" (A2), "Hardest It Is" (B64), "Heart" (A4), "A Hill for Leopardi" (A4), "Incident at May Pond" (A4), "Invert" (B100), "Japanese Sand Garden" (A4), "Journey" (A4), "Lakeshore" (B91), "A Lass in Wonderland" (A4), "Last Rites" (B95), "Laurentian" (A1), "Laurentian Shield" (B77), "Lesson" (B92), "Mackenzie River" (A4), "Manor Life" (A50), "March Field" (B33), "Martinigram" (A2), "Meeting" (A2), "Memory" (B96), "Message" (A2), "Mount Royal" (A4), "Mural" (A1), "My Amoeba Is Unaware" (B101), "New Names" (B19), "Noctambule" (A1), "North Stream" (A1), "Ode to a Politician" (B60), "Old Song" (B31), "On the Death of Gandhi" (B94), "On Watching Margaret Dying" (A4), " 'Orderly Decontrol' 1947" (B78), "Overture" (A1), "Paradise Lost" (B63), "Passer-By" (A1), "Picnic" (B93), "Picture In Life" (B89), "Plane Landing in Tokyo" (A4), "Poetry" (B102), "Polar Seasons" (B172), "Recovery" (B58), "Resurrection" (B71), "Return" (A2), "Saturday Sundae" (B72), "The Seed Thrower" (A4), "Signature" (B83), "Snowdrift" (B22), "Social Notes" (B44), "Social Notes" (B45), "The Spring Virgin Cries at Her Cult" (B80), "St Boniface" (B104), "Stone" (A2), "St Peter's" (A2), "The Stranger Hereabouts" (B171), "Time Corrected" (B163), "To Certain Friends" (B54), "The Tomb of the Kings" (B174), "To the Poets of India" (B119), "Tourist Time" (B37), "Trans Canada" (B70), "Trees in Ice" (B42), "Union" (A1), "Vagrant" (B30), "Vision" (A4), "War News" (B76), "Was" (A4), "Water" (A2), "Will to Win" (B84), "Windfall" (B75), and "W. L. M. K" (A3).
A6 Trouvailles: Poems from Prose. Introd. Louis Dudek. Foreword F.R. Scott. Montreal: Delta, 1967. 43 pp. Includes "Advertisement" (B130), "Airdrop, Cape Dorset, Christmas 1965," "And Now I Close," "The Archbishop Speaks," "The Beaver," "British Industrialist Approves Apartheid" (B131), "The Canadian Social Register" (B85), "Cent Ans d'Injustice," "Court Circular," "Dew Lines" (B108), "Extrajudicial Fees," "Frost-Bite" (B132), "The Indians Speak at Expo 67," "MD Sewed Wrong Section of Colon," "National Emblem," "One Cure for Loneliness" (B133), "Ottawa Becomes Civilized," "Pavilion Misrepresents Outlook," "La Planification Familiale au Quebec" (B136), "Poetry Lecture," "RCMV Motto," "The Robinson Treaties," "Shabby Police," "Skirts," "Social Life in Montreal," "Swans," "Thrown from Sleigh," "Treaty," "Uneven Sidewalks," "Ushering in the Quiet Revolution," "Victoria Rifles," "Villainous Dens," "Wear Mini-Skirt with Poise," and "Workingmen's Temperance."
A7 The Dance Is One. Toronto: McClelland and Stewart, 1973. 95 pp. Includes "A la Claire Fontaine" (B168), "Angel" (B176), "Basement Restaurant" (B139), "Big Campus" (B126), "The Camp at Bell Rock," "Chasm" (B142), "Communion" (B177), "Counter-Signs," "Critique of Poetry," "Dancing," "The Distances of Love," "Epitaph," "Farewell to the Frenchmen Returning from New France to Gallic France" (B175), "Feed-Back (For Leon Dion)" (B143), "Flying to Fort Smith" (B111), "Fort Providence," "Fort Smith," "For Whom the Bell Tolls," "The Great God Profit," "Greener Than Nature" (B186), "Hail to Thee" (B181), "Happening at Aldridge's Pond" (B137), "Hope That Triumphs" (B170), "Iceberg," "I1 (on) a bien aime quandmeme," "Impressions" (B129), "In Time of Doubt," "Knowing" (B178), "Landscape Estranged" (B187), "Mackenzie River," "Metric Blues" (B157), "The Miniaturised Groom" (B149), "National Identity" (B124), "A New City: E 3," "News Report," "Norman Wells," "Norman Wells to Aklavik," "Now Comes the Time," "On Saying Good-Bye to My Room in Chancellor Day Hall" (B154), "On the Terrace, Quebec" (B144), "Open House, McGill" (B151), "Orangerie," "Pamplona, July 1969" (B141), "The Philanthropists" (B188), "Place de la Concorde," "Poem for Living" (B153), "Population Explosion" (B127), "The Prodigal Son" (B173), "Question," "The Radium Yellowknife," "Regina, 1967" (B145), "Reminders," "Rue Saint-Denis" (B179), "La Revolution Tranquille (Montreal's New International Airport)" (B138), "Signal" (B146), "Span" (B147), "State of Seige" (B183), "Steve the Carpenter," "Student Parity," "This Is a Law," "To Joan," "Towards Dawn" (B184), "True Justice," "TV Weather Man (For Percy Saltzman)" (B148), "Two Indias" (B150), "Two Items: I Nor'Westers," "Two Items: II The Wheels of Justice" (B152), "Warning," "Winter Sparrows," and "Yours" (B140).
A8 The Collected Poems of F.R. Scott. Toronto: McClelland and Stewart, 1981. 379 pp. Includes "Abstract" (B18), "Accompaniment" (B164), "Adieux a Deux," "Advice" (B57), "Airdrop, Cape Dorset, Christmas 1964" (A6), "A la Claire Fontaine" (B168), "A l'Ange Avant-Gardien" (A2), "All the Spikes but the Last" (A3), "Angel" (B176), "The Archbishop Speaks" (A6), "Archive," "Armageddon" (B61), "Ars Medica," "As if for a Holiday" (B162), "At One Time" (A50), "Audacity" (A4), "Autumnal" (A1), "Autumn Lake" (A4), "Bangkok" (A2), "The Barons" (B65), "The Bartail Cock" (B117), "Basement Restaurant" (B139), "The Beaver" (A6), "Bedside" (B74), "Below Quebec" (B17), "Big Campus" (B126), "The Bird" (B79), "Bird Cage" (B165), "Blind Season" (B189), "Bonne Entente" (B98), "Books of Poems" (B110), "Bookworm" (A1), "Boston Tea Party 1940" (B59), "Bourgeois Burial," "Brebeuf and His Brethren" (A3), "British Industrialist Approves Apartheid" (B131), "Calamity" (A2), "The Call of the Wild" (A3), "The Camp at Bell Rock" (A7), "The Canadian Authors Meet" (B29), "The Canadian Social Register" (B85), "Carrag" (B99), "Carlos Cat" (A2), "Cent Ans D'Injustice" (A6), "Charity" (A2), "Chasm" (B142), "The Clearing" (A1), "The Closed Room" (B169), "Cloth of Gold" (B105), "Coelacanth" (A4), "Coil" (A2), "Command of the Air" (B81), "Communion" (B177), "Conflict" (B52), "CounterSigns" (A7), "Court Circular" (A6), "Creed" (A4), "Critique of Poetry" (A7), "Cycles," "Dancing" (A7), "Dark Tomb," "A Dead Man Asks for a Drink" (B180), "Decay of Cleric" (B38), "Dedication" (B50), "Degeneration" (A4), "Departure" (B122), "Devoir Molluscule" (B55), "Dew Lines 1956" (B108), "Dialogue" (B53), "Disinherited" (A1), "Eclipse" (B125), "Eclipses" (A1), "Eden" (B82), "Enemies" (B68), "Epigram [Love would heap scorn upon her sister spring...]" (B159), "Epitaph" (A7), "Epitaphs: Financier [B39], Lawyer [B40], Professor" (B46), "Evolution," "Examiner" (B66), "Fantasy" (B7), "Farewell to the Frenchmen Returning from New France to Gallic France, 25 August 1606" (B175), "Feed-back" (B143), "Finis the Cenci" (A2), "Flux" (B62), "Flying to Fort Smith" (B111), "For All Those Dead," "For Bryan Priestman" (B86), "For Cathy Fiscus" (B87), "The Forerunner" (B160), "For Pegi Nicol" (B88), "For R. A.S. 1925-1943" (B67), "Fort Providence" (A7), "Fort Smith" (A7), "For Whom the Bell Tolls" (A7), "The Founding of Montreal" (B106), "Four Moments," "Frost in Autumn" (B9), "The Game" (B166), "General Election 1958" (B113), "Girl Running Down Hill" (A4), "Give a Pint: Save a Life" (A3), "Goodbye to All That" (B123), "A Gram of Rice" (A2), "Greener Than Nature" (B186), "Grey Morning" (B43), "Hail to Thee" (B181), "Hanged by the Neck" (B44), "Happening at Aldridge's Pond" (B137), "Hardest It Is" (B64), "Heart" (A4), "He Walked in a World," "A Hill for Leopardi" (A4), "Hope That Triumphs" (B170), "I Am Employed" (A2), "Iceberg" (A7), "Impressions" (B129), "The Indians Speak at Expo '67" (A6), "In Time of Doubt" (A7), "Inventory" (B182), "Invert" (B100), "Is" (B112), "Japanese Sand Garden" (A4), "Journey" (A4), "Keepsake," "Knowing" (B178), "Lakeshore" (B91), "Landing," "Landscape Estranged" (B187), "A Lass in Wonderland" (A4), "Last Rites" (B95), "Laurentian" (A1), "Laurentian Shield" (B77), "The Lean Girl" (B161), "Lesson" (B92), "Lest We Forget" (A1), "Lines Written During the McGill Convocation October 6, 1966," "Mackenzie River" (A4), "Manor Life" (A50), "March Field" (B33), "Martinigram" (A2), "Meeting" (A2), "Memory" (B96), "Message" (A2), "Miranda," "Moment," "Monarchy" (A2), "Mount Royal" (A4), "A Moving Picture," "Mural" (A1), "My Amoeba Is Unaware" (B101), "My Eyes a River" (A2), "My Three Doctors," "National Emblem" (A6), "National Identity" (B124), "A New City: E3" (A7), "New Names" (B19), "New Paths," "News Report" (A7), "Noctambule" (A1), "No Curtain" (B118), "Norman Wells" (A7), "Norman Wells to Aklavlk" (A7), "North April," "North Stream" (A1), "Nor'westers" (A7), "November Pool" (B21), "Now Comes the Time" (A7), "Ode to a Politician" (B60), "Ode to Confederation or How It All Happened" (A3), "Old Song" (B31), "One Cure for Loneliness" (B133), "On Kanbawza Road," "On Saying Goodbye to My Room in Chancellor Day Hall" (B154), "On the Death of Gandhi' (B94), "On the Terrace, Quebec" (B144), "On Watching Margaret Dying" (A4), "Open House, McGill" (B151), "Orangerie" (A7), "Orderly Decontrol 1947" (B78), "Ottawa Becomes Civilized" (A6), "Overture" (A1), "Pamplona, July 1969" (B141), "Paradise Lost" (B63), "Passer-By" (A1), "Perigourdine" (A3), "Perpetual Beginning" (A50), "The Philanthropists" (B188), "Picnic" (B93), "Picture in Life" (B89), "Place de la Concorde" (A7), "La Planification Familiale au Quebec" (B136), "Poem," "Poem for Living" (B153), "Poem Talking to Poet," "Poetry" (B102), "Polar Season" (B172), "Practical Men" (A3), "Press Report" (B107), "Prison" (A2), "Prizes" (A2), "The Problem" (B2), "The Prodigal Son" (B173), "Proud Cellist" (B25), "The Radium Yellowknife" (A7), "Recovery" (B58), "Regina 1967" (B145), "Reminder" (A7), "Resurrection" (B71), "Return" (A2), "Reverie," "La Revolution Tranquille" (B138), "The Robinson Treaties" (A6), "Rue Saint-Denis" (B179), "Saturday Sundae" (B72), "School for Domestic Science," "The Seed Thrower" (A4), "Signal" (B146), "Signature" (B83), "Silence," "Snow" (A50), "Snowballs for You, Mr. Josephs" (B114), "Snowdrift" (B22), "Social Notes 1, 1932" (B44), "Social Notes II, 1935" (B45), "Some Privy Counsel" (B90), "Song," "Sonnet" (B11), "Sonnet in Dialogue on the Nature of Love," "Spare 1937" (A1), "Span" (B147), "Spectacle of the Dance" (B167), "Spring Flame" (B32), "Spring 1941" (A1), "The Spring Virgin Cries at Her Cult" (B80), "State of Seige" (B183), "St. Bornface" (B104), "Steve, the Carpenter (1956)" (A7), "Stone" (A2), "St. Peter's" (A2), "The Stranger Hereabouts" (B171), "Street Cry" (A3), "Student Parity" (A7), "Surfaces" (A1), "Sweeney Comes to McGill" (B13), "Sweeney Graduates" (B34), "'Teleological" (A1), "There Is Certainly Someone" (A2 and A50), "This Is a Law" (A7), "Time as Now" (A4), "Time Corrected" (B163), "To -- ," "To Certain Friends" (B54), "To Joan" (A7), "To Madame Du Chetelet," "The Tomb of the Kings" (B174), "Torpedo Descending" (A1), "To the Poets of India" (B119), "Tourist Time" (B37), "Towards Dawn" (B184), "TV Weather Man" (B148), "The Two Hands" (A50), "Two Sonnets for Free Enterprise: I. Company Meeting [The chairman called the proxies to order at ten ...] [A2], II. Ad-men [Take a look at the Sat Eve Post ...]" (B103), "Union" (A1), "Unison" (A4), "Ushering In the Quiet Revolution" (A6), "Vagrant" (B30), "Villainous Dens" (A6), "Villanelle for Our Time" (B73), "Vision" (A4), "Waiting" (A4), "War" (A1), "War News" (B76), "Warning" (A7), "Was" (A4), "Water" (A2), "Weights and Measures" (A50), "Where Are the Children," "Will Be," "Windfall" (B75), "Winter Sparrows" (A7), "xxx" (B16), "Yours" (B140), and "Yes or No" (B109).
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Source: Still, Robert (compiler); . Part 1: Works By F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 206-239 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP1.
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Record: 69- Title:
- Part 1 Works By F.R. Scott; Books; Social and political subjects
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- Still, Robert (compiler)
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- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04FSP1
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Source: Part 1: Works By F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 206-239
Part 1 Works By F.R. Scott; Books; Social and political subjects
Still, Robert (compiler)
A9 Alan Plaunt, and G. V. Ferguson. Canadian Unity in War and Peace: An Issue of Responsible Government. N.p.: n.p., n.d.N, pag.
A10 Alan Plaunt. The Situation: Canada Must Decide. N.p.: n.p., n.d. 4 PP.
A11 Canada Tomorrow. [Canada]: n.p., n.d. 21 pp.
A12 The C.C.F. and Religion. Montreal: n.p., n.d. N. pag. Includes both English and French texts.
A13 The Plebiscite Vote in Quebec. N.p.: n.p., n.d. N. pag. Quebec et le vote du plebiscite. Montreal: Le Devoir, 1942. 15 pp.
A14 You and I Must Act for Peace: Japanese Aggression in China and Canada's Position. Ottawa: C.C.F. National Office, n.d.N, pag.
A15 What Is the C.C.F. Montreal: C.C.F. Publishers, n.d.N, pag.
A16 Admiralty Jurisdiction and Colonial Courts. Montreal: McGill Univ. Press, 1929. 7 pp. See B227 ("Admiralty, Jurisdiction and Colonial Courts").
A17 W. F. Macklaier. Succession Duties in the Province of Quebec (1892-1930). Montreal: Nauonal Trust, 1930. 116 pp.
A18 Freedom of Speech in Canada. N.p.: n.p., 1933. N. pag.
A19 W.C. Wansbrough. Canada and Socialism. Toronto: League for Social Reconstruction, 1934. 4 pp.
A20 Social Reconstruction and the B.N.A. Act. League for Social Reconstruction Pamphlet, No. 4. Toronto: Nelson, 1934. 28 pp.
A21 H. M. Cassidy. Labour Relations in the Men's Clothing Industry. Toronto: Nelson, 1935. 106 pp.
A22 Canada and the Commonwealth. Toronto: Canadian Institute of International Affairs, 1938. 89 pp. Prepared for the British Commonwealth Relations Conference, 1938.
A23 Canada -- One or Nine? The Purpose of Confederation. Toronto: League for Social Reconstruction, 1938. 32 pp.
A24 Canada To-Day: A Study of Her National Interests and National Policy. Toronto: Oxford Univ. Press, 1938. xii, 163 pp.
Toronto: Oxford Univ. Press, 1939. xii, 184 pp. Le Canada Aujourd'hui.
Montreal: Le Devoir, 1939. 178 pp.
A25 L.C. Marsh, et al. Democracy Needs Socialism. Toronto: Nelson, 1938. 154 pp.
A26 The Policy of Neutrality for Canada. N.p.: n.p., 1939. 17 pp. See B186 ("A Policy of Neutrality for Canada").
A27 Recent Developments in New Zealand. Montreal: McGill Univ. Press, 1939. 8 pp.
A28 Alan Plaunt. A Programme of Immediate Canadian Action. Ottawa: n.p., 1940. 42 pp. Drawn up by a group of twenty Canadians meeting at the Chateau Laurier, Ottawa, 17-18 July 1940.
A29 David Lewis. Canada and the United States. America Looks Ahead. Pamphlet No. 2. Boston: World Peace Foundation, 1941. 80 pp.
A30 David Lewis. Make This "Your" Canada: A Review of C.C.F. History and Policy. Preface M.J. Coldwell. Toronto: Central Canada, 1943. 223 pp.
Un Canada nouveau: Vue d'ensemble de l'historique et de la politique du mouvement C.C.F. Montreal: B. Valinquette, 1944. 257 pp.
A31 Co-Operation for What?. New York: American Council, 1944. 64 pp. Published for the Institute of Pacific Relations.
A32 The Montreal Star and the C.C.F.: Another Monopoly at Work. Montreal: n.p., 1944. N. pag.
A33 Socialism in the Commonwealth. Toronto: Canadian Institute of International Affairs, 1945. N. pag. See B329 ("Socialism in the Commonwealth").
A34 Bibliography on Constitutional Law. Montreal: McGill Univ. Press, 1948. 27 pp.
A35 New Horizons for Socialism. Ottawa: Woodsworth, 1951. 16 pp.
A36 R. A. Mackay, and A. E. Ritchie. The War against Poverty. Toronto: Univ. of Toronto Press, 1953. 32 pp.
A37 Technical Assistance and Economic Aid through the United Nations. Toronto: Univ. of Toronto Press, 1953. 14 pp. See B363 ("Technical Assistance and Economic Aid through the United Nations").
A38 The World's Civil Service. New York: Carnegie Endowment for International Peace, 1954. 21 pp.
A39 A. R. M. Lower, et al. Evolving Canadian Federalism. Commonwealth Studies Centre Pamphlet, No. 9. Durham: Duke Univ. Press, 1958. 32 pp.
A40 The Canadian Constitution and Human Rights. Toronto: CBC, 1959. N. pag.
A41 Civil Liberties and Canadian Federalism. Toronto: Univ. of Toronto Press/Carleton University, 1959. 58 pp. Alan B. Haunt Lectures, Carleton University, Ottawa. 19-20 March 1959.
A42 Essays on the Constitution: Aspects of Canadian Law and Politics. Toronto: Univ. of Toronto Press, 1977. 422 pp. Includes "Areas of Conflict m the Field of Public Law and Policy" (B374), "The Bill of Rights and Quebec Law," "The British North America (No. z) Act, 1949" (B353), "Canada et Canada francais," "Canada, Quebec, and Bilingualism" (B337), "Canada's Future in the British Commonwealth" (B271), "Canadian Federalism: The Legal Perspective," "Centralization and Decentralization in Canadian Federalism" (B360), "Constitutional Adaptations to Changing Functions of Government" (B326), "The Constitutional Background of Taxation Agreements" (B369), "The Deportation of Japanese Canadians: An Open Letter to the Press," "The Development of Canadian Federalism" (B233), "Dominion Jurisdiction over Human Rights and Fundamental Freedoms" (B351), "Duplessis v. Jehovah" (B334), "The End of Dominion Status" (B320), "Etat federal canadien et provinces" (B321), "Expanding Concepts of Human Rights," "Federal Jurisdiction over Labour Relations: A New Look" (B408), "Freedom of Speech in Canada" (B244), "Language Rights and Language Policy in Canada," "Nationalism in French Canada," "Our Changing Constitution" (B379), "Political Nationalism and Confederation" (B312), "Preface," "The Privy Council and Mr Bennett's 'New Deal' Legislation" (B2722), "Section 94 of the British North America Act" (B309), "Selected Bibliography of Other Writings on Canadian Government and Politics," "The Special Nature of Canadian Federalism" (B335), "The Trial of the Toronto Communists" (B241), and "Wade v. Egan: A Case Comment."
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Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
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A50 St.-Denys Garneau and Anne Hebert. Vancouver: Klanak, 1962. 49 pp. Includes the original poems from Saint-Denys Garneau and Anne Hebert, as well as Scott's translations. The following titles are those of Scott's translations: "Accompaniment" (B164), "As if for a Holiday" (B162), "At One Time," "Bird Cage" (B165), "Blind Season," "The Closed Room" (B169), "A Dead Man Asks for a Drink" (B180), "The Game" (B166), "The Lean Girl" (B161), "Manor Life," "My Eyes a River," "Perpetual Beginning," "Snow," "Spectacle of the Dance" (B167), "There Is Certainly Someone," "The Tomb of the Kings" (B174), "The Two Hands," and "Weights and Measures."
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- Still, Robert (compiler)
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- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
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Part 1 Works By F.R. Scott; Contributions to periodicals and books; Articles
Still, Robert (compiler)
B209 "Talks on the Mountain." McGill Fortnightly Review, 21 Nov. 1925, p. 7.
B210 "A Miniature Republic." McGill Fortnightly Review, 5 Dec. 192.5, pp. 14-16.
B211 "The Royal Canadian Academy." McGill Fortnightly Review, 5 Dec. 1925, p. 14.
B212 "December." McGill Fortnightly Review, 19 Dec. 1925, pp. 18, 24.
B213 Editorial. McGill Fortnightly Review, 23 Jan. 1926, pp. 37-38.
B214 "The Defective Executive or Soaked in System." McGill Fortnightly Review, 6 Feb. 1926, pp. 48, 51.
B215 Editorial. McGill Fortnightly Review, 20 Feb. 1926, p. 53.
B216 "The Imperial Debate." McGill Fortnightly Review, 20 Feb. 1926, p. 55.
B217 Editorial. McGill Fortnightly Review, 6 March 1926, pp. 61-62.
B218 Editorial. McGill Fortnightly Review, 22 March 1926, pp. 69-70.
B219 "The Students Society Meeting." McGill Fortnightly Review, 22 March 1916, p. 73. Published anonymously.
B220 "Jazz Tea." McGill Fortnightly Review, 17 Nov. 1926, p. 15.
B221 A. J. M. Smith. "The Players Club and Moyse Hall." McGill Fortnightly Review, 1 Dec. 1916, pp. 18-20.
B222 "McGill Week." McGill Fortnightly Review, 15 Dec. 1926, p. 26.
B223 "The Mock Parliament." McGill Fortnightly Review, 15 Dec. 1926, pp. 26-27.
B224 Editorial. McGill Fortnightly Review, 10 March 1927, pp. 49-50.
B225 "Student Government at McGill." McGill Fortnightly Review, 10 March 1927, pp. 50-52.
B226 "Gertrude Stein Has Tea at the Union." McGill Fortnightly Review, 25 March 1927, pp. 62-63.
B227 "Admiralty, Jurisdiction and Colonial Courts." Canadian Bar Review, 6 (Dec. 1918), 779-83. A JUG.
B228 "The Case of Mooney and Billings." The Canadian Forum, Sept. 1929, pp. 431-33.
B229 "University Theatres: The McGill Players Club." The Canadian Forum, Sept. 1929, p. 158.
B230 "Professor Berrierdale Keith on Admiralty Jurisdiction." Canadian Bar Review, 8 (Jan. 1930), 26-27.
B231 "The Value of Imperial Sovereignty." The Canadian Forum, Aug. 1930, pp. 398-99.
B232 "The Privy Council and Minority Rights." Queen's Quarterly, 37 (Autumn 1930), 668-78.
B133 "The Development of Canadian Federalism." Papers and Proceedings of the Third Annual Meeting of the Canadian Political Science Association, 3 (May 1931), 231-47. EC.
B234 "New Poems for Old. -- I. -- The Decline of Poesy." The Canadian Forum, May 1931, pp. 29698.
B135 "New Poems for Old. -- II. -- The Revival of Poetry." The Canadian Forum, June 1931, pp. 337-39.
B136 "The Montreal Sedition Cases." The Canadian Forum, Dec. 1931, pp. 756-61.
B237 "Communists, Senators and All That." The Canadian Forum, Jan. 1932, pp. 127-29.
B138 "The Death Penalty." The Canadian Forum, Jan. 1932, p. 126.
B139 "May Day." The Canadian Forum, June 1932, pp. 325-26.
B240 "The Permanent Basis of Canadian Foreign Policy." Foreign Affairs, 12 (July 1932), 614-31.
B241 "The Trial of the Toronto Communists." Queen's Quarterly, 39 (Aug. 1932), 511-31. EC.
B242 "Tea for Sinners." McGill Daily, 8 Nov. 1932, p. 6. B243 "Constitutional Law, Taxation, Priority, Dominion, Province, Indivisible Crown: Judgment of Silver Bros. Ltd." Canadian Bar Review, 10 (Dec. 1932), 658-65.
B244 "Freedom of Speech in Canada." Papers and Proceedings of the Fifth Annual Meeting of the Canadian Political Science Association, 5 (May 1933), 169-89. EC.
B245 "The C.C.F. Convention." The Canadian Forum, Sept. 1933, pp. 447-49.
B246 "Civil Liberties." Canadian New Leader, Oct. 1933, p. 6.
B247 "The Future of the Legal Profession." The Alarm Clock, Dec. 1933, pp. 5-10.
B248 "Political Prisoners." The Canadian Forum, Dec. 1933, p. 84.
B249 "The C.C.F. and the Constitution." Saskatchewan C.C.F. Research Bureau, 1, No. 6 (Jan. 1934), 1114.
B250 "The Fascist Province." The Canadian Forum, April 1934, pp. 251-52.
B251 "The New Canada: I. Politics." Mitre, Oct. 1934, pp. 5-7.
B252 "Mr. Bennett Reforms." McGill News, 16, No. 2 (Spring 1935), 7-9.
B253 "The Arcand Law (Quebec)." Canadian Journal of Economics and Political Science, 1 (May 1935), 291-94.
B254 "The David Law (Quebec)." Canadian Journal of Economics and Political Science, 1 (May 1935), 294-96.
B255 "The Efficiency of Socialism." Queen's Quarterly, 42 (May 1935), 215-25.
B256 "Impressions of a Tour m the U.S.S.R." The Canadian Forum, Dec. 1935, pp. 382-85.
B257 "The Law of Successions in the Quebec and in the French Civil Codes." In Le drott civil francais. Montreal: Le Barreau, 1936.
B258 "The U.S.S.R. and the Far East." Papers and Proceedings of the Sixth Conference of the Institute of Pacific Relations, 4, No. 10 (1936), 49-53.
B259 "The Immigration Act- False Arrest- Illegal Treatment of Arrested Person." Canadian Bar Review, 14 (Jan. 1936), 62-67.
B260 "French-Canadian Nationalism." The Canadian Forum, March 1936, pp. 12-13.
B261 "Penal Reform Is Not a Field for Amateurs." Saturday Night, 27 June 1936, p. 2.
B262 "The New Gradualism." The Canadian Forum, July 1936, pp. 12-13.
B263 "State Should Aid Defence for Poor Litigant." Saturday Night, 4 July 1936, p. 2.
B264 "Penal Reform." Saturday Night, 11 July 1936, p. 4.
B265 "Penal Reform." Saturday Night, 18 July 1936, p. 4.
B266 "Pacific Problems and the I.P.R." The Canadian Forum, Oct. 1936, pp. 13-14.
B267 "Prosperous Sweden." Maclean's, 1 Nov. 1936, pp. 16, 18.
B268 "Quebec Fascists Show Their Hand." The Canadian Forum, Dec. 1936, pp. 8-9.
B269 "The Constitutional Issue Arising from Abdication." McGill Daily, 15 Dec. 1936, p. 1.
B270 "Goodbye Dominion Status." The Canadian Forum, March 1937, pp. 6-7.
B271 "Canada's Future in the British Commonwealth." Foreign Affairs, 15 (April 1937), 429-42. EC.
B272 "The Privy Council and Mr. Bennett's 'New Deal' Legislation." Canadian Journal of Economics and Political Science, 3 (May 1937), 234-41. EC.
B273 "Canada and the Outbreak of War." The Canadian Forum, June 1937, pp. 85-87.
B274 "The Consequences of the Privy Council Decisions." Canadian Bar Review, 15 (June 1937), 485-95.
B275 "What Is Freedom of Speech." McGill News, 18, No. 4 (Autumn 1937), 19-22.
B276 --, et al. Foreword. In Co-Operatives Today and Tomorrow. A Canadian Survey. By George Stuart Mooney. Montreal: n.p., 1938, p. 6.
B277 "The Royal Commission on Dominion-Provincial Relations." University of Toronto Quarterly, 7 (Jan. 1938), 141-51.
B278 "Section 99." The Canadian Forum, March 1938, p. 404.
B279 "Embryo Fascism m Quebec." Foreign Affairs, 16 (April 1938), 454-66. Signed: "S."
B280 "Canada, the Ammunition Dump." The Canadian Forum, Aug. 1938, pp. 138-39.
B281 "The C.C.F. in Convention." The Canadian Forum, Sept. 1938, pp. 166-67.
B282 "British Commonwealth Relations Conference." Saturday Night, 12 Nov. 1938, p. 2.
B283 "Pan-American Union and Democracy." The Christian Science Monitor, 12 Nov. 1938, n. pag.
B284 "Where Do We Go from Here?". Winnipeg Tribune, 5 Dec. 1938, p. 11
B285 "The Cardinal Speaks." The Canadian Forum, Jan. 1939, pp. 294-95.
B286 "A Policy of Neutrality for Canada." Foreign Affairs, 17 (Jan. 1939), pp. 402-16. PNC.
B287 "The Canadian Constitution." Daily Telegraph [London, Eng.], Dominion of Canada Supplement, 22 May 1939, p. 7.
B288 "Disunity and Uncertain Direction in the Political Sphere: Ten Parliaments and No Common Practice." Daily Telegraph and Morning Post [London, Eng.], Dominion of Canada Supplement, 22 May 1939, P. 7.
B289 "Democracy's Role in the Americas." The Christian Science Monitor, 11 June 1939, p. 13.
B290 "What Kind of a Peach Do We Want?". Saturday Night, 15 July 1939, p. 3.
B291 "Who Are the Isolationists?". Winnipeg Free Press, 31 July 1939, p. 13.
B292 "The Constitution and the War." The Canadian Forum, Nov. 1939, pp. 243-44.
B293 "The Need for a New Spirit of Confederation." Financial Times of Canada [Montreal], 17 Nov. 1939, P. 8.
B294 "Real Vote in Quebec." The Canadian Forum, Dec. 1939, p. 270-71.
B295 "Parliament Should Decide." The Canadian Forum, Jan. 1940, pp. 311-13.
B296 "How Canada Entered the War." The Canadian Forum, Feb. 1940, pp. 344-46.
B297 "Social Planning and the War." The Canadian Forum, Aug. 1940, pp. 138-39.
B298 "Mr. Roosevelt Keeps Going." The Canadian Forum, Dec. 1940, pp. 267-68.
B299 "North America's Share in the Maintenance of Security." Proceedings of the Conference on Canadian-American Affairs. Ed. G. Trotter and A.B. Corey. Toronto: n.p., 1941, pp. 247-49.
B300 "Currents of American Opinion." The Canadian Forum, July 1941, pp. 104-05.
B301 "Alan Plaunt: 1904-1941." The Canadian Forum, Oct. 1941,p. 202.
B302 "Canada and Foreign Affairs." University of Toronto Quarterly, 11 (Oct. 1941), 120-22.
B303 "Freezing Injustice." The Canadian Forum, Dec. 1941, pp. 261-63.
B304 "Canada's Role in World Affairs." Food for Thought, 2, No. 5 (Jan. 1942), 8-16.
B305 "A Decade of the League for Social Reconstruction." Saturday Night, 24 Jan. 1942, p. 8.
B306 "The Americas Pull Together." Classmate, 49, No. 12 (March 1942), 6-7, 14-15.
B307 "Canadian Nationalism and the War." The Canadian Forum, March 1942, pp. 360-62.
B308 "Forgotten Amendments to the Canadian Constitution." Canadian Bar Review, 20 (April 1942), 33942.
B309 "Section 94 of the British North America Act." Canadian Bar Review, 20 (June 1942), 525-44. EC.
B310 "What Did 'No' Mean?". The Canadian Forum, June 1942, pp. 71-73. Rpt. trans, in Le Canada, 6 lure 1942, p. 2. Rpt. in Le Nouvelliste, 17 juin 1942, p. 4.
B311 "Confederation: An Assessment." The Canadian Forum, July 1942, pp. 104-06.
B312 "Political Nationalism and Confederation." Canadian Journal of Economics and Political Science, 8 (Aug. 1942), 386-415. EC.
B313 "Mr. Raymond and the Bloc Populaire Canadienne [sic]." Editorial. The Canadian Forum, Nov. 1942, pp. 228-29. According to Beatrice DeVreeze's bibliography, Scott is not certain if this editorial was written by himself or by Eugene Forsey.
B314 "A Note on Canadian War Poetry." Preview, No. 9 (Nov. 1942), pp. 3-5. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 97-100.
B315 "Labour and the B.N.A. Act." Canadian Railway Employees" Monthly, Jan. 1943, pp. 6-7.
B316 "War and the Universities." Preview, No. 12 (Feb. 1943), pp. 3-4.
B317 "The Case for Public Enterprise." The Canadian Forum, Aug. 1943, pp. 109-10.
B318 "Mr. Scott Replies." The Canadian Forum, Sept. 1943, pp. 123-33.
B319 "Figures Cannot -- ?". The Canadian Forum, Nov. 1943, p. 185.
B320 "The End of Dominion Status." American Journal of International Law, 38 (Jan. 1944), 34-39. Rpt. in Canadian Bar Review, 23 (Nov. 1945), 725-44. Rpt. in South African Law Journal, 64 (May 1947), 141-59. EC.
B321 "Etat federal canadien et provinces." Le Revue du Barreau, 4 (fev. 1944), 90-102. EC ("Etat federal canadien et provinces").
B322 "Quebec Chooses Sides." The Canadian Forum, April 1944, p. 6.
B323 "Leftward the Course of Empire." Nation [N.Y.], No. 159 (Oct. 1944), pp. 402-03.
B324 "Gare aux Mots: Meaning of the Word 'Socialism': A Reply to L. P. Pigeon, with Rejoinder." Culture, No. 6 (juin 1945), pp. 319-27.
B325 "Day and Night." First Statement, 2, No. 10 (Dec.Jan. 1944-45), 23, 24.
B326 "Constitutional Adaptations to Changing Functions in Government." Canadian Journal of Economics and Political Science, 11 (Aug. 1945), 329-41. EC. Includes bibliography and footnotes.
B327 "V-J Day: Portent of the British Election." C.C.F. News, 10, No. 2 (Aug. 1945), 7.
B328 "Douglas Action Saved Dom.-Prov. Conference." C.C.F. News, 12, No. 5 (Sept. 1945), p. 3.
B329 "Socialism in the Commonwealth." International Journal, 1 (Jan. 1946), 22-30. SC.
B330 "Labour Learns the Truth." The Canadian Forum, May 1946, pp. 29-30.
B331 "Vacations with Pay for Railway Employees." Canadian Railway Employees' Monthly, Aug. 1946, pp. 217-19.
B332 "Roads to Peace and Security." International Journal, 1 (Oct. 1946), 349-57.
B333 "The Canadian Constitution and Human Rights." Yearbook on Human Rights. Lake Success: United Nations, 1947, pp. 55-57.
B334 "Duplessis Versus Jehovah." The Canadian Forum, Jan. 1947, pp. 222-23. EC ("Duplessis v. Jehovah").
B335 "The Special Nature of Canadian Federalism." Canadian Journal of Economics and Political Science, 13 (Feb. 1947), 13-27. EC.
B336 "Alignment of Parties." The Canadian Forum, March 1947, pp. 270-71.
B337 "Canada, Quebec and Bilingualism." Queen's Quarterly 54 (Spring 1947), 1-7. EC.
B338 "Abolition of Appeals to the Privy Council." Canadian Bar Review, 25 (June-July 1947), 557-72.
B339 "The Status of Commonwealth Members." The Canadian Forum, Aug. 1947, pp. 102-03.
B340 --, and Peter Skov. "The Rights of Man." United Nations Weekly Bulletin, 16 Dec. 1947, P. 813.
B341 "A. J. M. Smith." In Leading Canadian Poets. Ed. W. P. Percival. Toronto: Ryerson, 1948, pp. 23444.
B342 "Administrative Law: 1923-1947." Canadian Bar Review, 26 (Jan. 1948), 268-85.
B343 "A. J. M. Smith." Educational Record [Quebec], 64 (Jan.-March 1948), 24-29.
B344 "McGill Drops Behind." The Canadian Forum, March 1948, p. 268.
B345 "One More Flag." The Canadian Forum, March 1948, pp. 270-71.
B346 "Constitutional Law: Delegation by Parliament to Provincial Legislatures and Vice Versa -- Nova Scotia Bill 136, The Delegation of Legislative Jurisdiction Act." Canadian Bar Review, 26 (June-July 1948), 984-90.
B347 "The Commonwealth Conference." The Canadian Forum, Dec. 1948, p. 196.
B348 "The Law in Evolution." McGill Daily, 13 Dec. 1948, p. 4.
B349 "Political Pattern in Quebec." C.C.F. News, 13, No. 9 (March 1949), 3. Rpt. in The Commonwealth, 2 March 1949, p. 7. Rpt. ("Sinister Forces Extending Control Over Province") in The Maritime Commonwealth, 10 March 1949, pp. 2-7. Signed: "Observer" in The Maritime Commonwealth.
B350 "The Margarine Decision." Obiter Dicta, Spring 1949, pp. 8-11.
B351 "Dominion Jurisdiction over Human Rights and Fundamental Freedoms." Canadian Bar Review, 27 (May 1949), 497-536. EC.
B352 "Election Campaign m Canada." Socialist Commentary, 13, No. 6 (June 1949), 129-31.
B353 "The British North America (No. 2) Act, 1949." University of Toronto Law Journal, 8 (1950), 20107. EC.
B354 "La politique et les jeunes." Le Quartier Latin, 32, No. 32 (fev. 1950), 5.
B355 "The Redistribution of Imperial Sovereignty." Transactions of the Royal Society of Canada, Ser. 3, Sec. II, 44 (June 1950), 27-34. Includes bibliography and footnotes.
B356 "Charting the Future for Democratic Socialism." C.C.F. News, 14, No, 2 (Aug. 1950), 3.
B357 "Brief Presented to the Senate Committee on Human Rights and Fundamental Freedoms." Canadian Bar Review, 10 (Sept. 1950), 325-35.
B358 "Costs of Divided Jurisdiction." Comment, 1, No. 3 (Dec. 1950), 1-2.
B359 "Mr. King and the King Makers." The Canadian Forum, Dec. 1950, pp. 197-99.
B360 "Centralization and Decentralization in Canadian Federalism." Canadian Bar Review, 29 (Dec. 1951), 1095-125. EC.
B361 "Publishing False News." Canadian Bar Review, 30 (Jan. 1952), 37-47.
B362 "A Survey of Canadian Federalism." International Social Science Bulletin, 4, No. 1 (Spring 1952), 7188.
B363 "Technical Assistance and Economic Aid through the United Nations." Transactions of the Royal Society of Canada, Ser. 3, Sec. II, 47 (June 1953), 17-31. TAEA.
B364 "Welfare Work in Burma." Canada Welfare, 29, No. 2 (June 1953), 5-9.
B365 "Witness." The Canadian Forum, Dec. 1953, p. 195.
B366 "The World's Civil Service." International Conciliation, No. 496 (Jan. 1954), pp. 257-320.
B367 "La bureaucratie au pouvoir." Rapport de la lizere conferance annuelle des Affaires Publiques, 29 (1 Sept.-2 Oct. 1954), 30-33.
B368 "La taxation directe et I'N.A.A.B." Themis: Revue Juridicus, 5, No. 14 (dec. 1954), 91-97.
B369 "The Constitutional Background of Taxation Agreements." McGill Law Journal, 2 (Autumn 1955), 1-10. EC.
B370 "Canadian Writers Conference." University of Toronto Quarterly, 25 (Oct. 1955), 96-103.
B371 "Avant-propos." La greve de l'amiante. Montreal: Cite libre, 1956, pp. ix-x.
B372 Introduction. In Writing in Canada: Proceedings of the Canadian Writers" Conference, Queen's University, 28-31 July, 1955. Ed. George Whalley. Toronto: Macmillan, 1956, pp. 1-10.
B373 "La guerre des ondes." Cite fibre, No. 15 (aout 1956), pp. 44-49.
B374 "Areas of Conflict in the Field of Public Law and Policy." McGill Law Journal, 3 (Autumn 1956), 29-50. Rpt. in Canadian Dualism. Ed. Mason Wade. Toronto: Univ. of Toronto Press, 1956, pp. 81-105. EC.
B375 Foreword. In Report of the Committee on Legal Research. Canadian Bar Review, 34 (Nov. 1956), 999-1056.
B376 "Co-Operative Commonwealth Federation." Encyclopedia Canadiana, 1957.
B377 "American Pressures and Canadian Individuality." The Centennial Review of Arts & Science [Michigan State Univ.], 1 (Fall 1957), 372.-78.
B378 "Patrick Anderson." The Tamarack Review, No. 6 (Winter 1958), pp. 94-96.
B379 "Our Changing Constitution." Transactions oft he Royal Society of Canada, Ser. 3, Sec. II, 55 (June 1961), 83-85. EC.
B380 "The Poet in Quebec Today." In English Poetry in Quebec. Ed. John Glassco. Montreal: McGill Univ. Press, 1965, pp. 43-49. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 265-69. Rpt. (excerpt) in The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 51-52.
B381 "Social Planning and Canadian Federalism." in Social Purpose for Canada. Ed. Michael Oliver. Toronto: Univ. of Toronto Press, 1965, pp. 394407.
B382 "Impressions." The Canadian Forum, Oct. 1965, p. 148.
B383 "F.H.U. and the Manifestoes." The Canadian Forum, Nov. 1971, pp. 8-9.
B384 "F. R. Scott: Discussing Oxford Study Group on Christianity and industrial Problems." Canadian Poetry: Studies, Documents, Reviews, No. 4 (Spring-Summer 1979), pp. 83-93. According to D.M.R. Bentley and Michael Gnarowski, this is "an assemblage of reminiscences and thoughts produced by Scott for the writing of his memoirs."
B385 "In Memoriam: A.J.M. Smith." The League of Canadian Poets Newsletter, 30 Dec. 1980, p. 1.
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Source: Still, Robert (compiler); . Part 1: Works By F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 206-239 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP1.
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Record: 72- Title:
- Part 1 Works By F.R. Scott; Contributions to periodicals and books; Letters
- Other Title:
- Part 1 Works By F.R. Scott; Contributions to periodicals and books
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- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Part 1 Works By F.R. Scott; Contributions to periodicals and books; Letters
Still, Robert (compiler)
B415a Letter. McGill Daily, 20 Oct. 1925, p. 3.
B416 Letter. McGill Daily, 28 Oct. 1925, p. 2.
B417 Letter. McGill Daily, 30 Oct. 1925, pp. 1,3.
B418 Letter. The Canadian Forum, June 1928, pp. 69798.
B419 "Section 98." The Canadian Forum, Sept. 1932, p. 476.
B420 "Professor Scott Replies." The Ottawa Journal, 22 Nov. 1932, p. 6.
B421 "Wrong Impression Taken from Lecture." Quebec Chronicle Telegraph, 21 Feb. 1933, p. 5.
B422 "For Public Ownership." The Gazette [Montreal], 20 April 1933, p. 12.
B423 "For Public Ownership." Notre Dame de Grace Monitor, 20 April 1933, p. 5.
B424 "Public Meetings." The Gazette [Montreal], 19 Feb. 1934, p. 12.
B425 "You Too Brutus." Toronto Weekly Sun, 15 March 1934.
B426 "Free Speech." Canadian Unionist, 8, No. 8 (Jan. 1935), 182.
B427 "A C.C.F. Protest." The Gazette [Montreal], 8 Oct. 1935, p. 10.
B428 "Two Letters on Conservative Misrepresentations of the CCF." New Commonwealth, 12 Oct. 1935, p. 4.
B429 Letter. New Commonwealth, 12 Oct. 1935 [sic; 19 Oct. 1935], p. 4.
B430 "Communism and Public Order." The Gazette [Montreal], 23 March 1937, p. 8.
B431 "Peaceful Picketing." The Gazette [Montreal], 10 Aug. 1937, p. 8.
B432 "Frank R. Scott Replies to Chronicle Telegraph Editorial." Quebec Chronicle Telegraph, 6 Aug. 1942, p. 3.
B433 "Prof. Scott and Great Britain." Saturday Night, 17 Oct. 1942, p. 2.
B434 "Scott Defends Mrs. Casgrain." The Gazette [Montreal], 14 Nov. 1942, p. 8.
B435 "Coldwell and Bracken." The Gazette [Montreal], 10 Feb. 1943, p. 8.
B436 "Mr. Scott Replies." The Canadian Forum, Sept. 1943, pp. 131-33.
B437 Letter. Quebec Chronicle Telegraph, 9 Nov. 1943, p. 2.
B438 "Mr. Scott Explains." The Canadian Forum, Dec. 1943, p. 206.
B439 "Fallacious Arguments and Special Pleading." Montreal Daily Star, 16 Aug. 1944, p. 10.
B440 Letter. The Montreal Herald, 3 Jan. 1946, p. 4. This letter about the deportation of Canadian Japanese was reprinted in fifty-five newspapers.
B441 Letter. Canadian Bar Review, 24 (Feb. 1946), 166.
B442 "Professor Scott Replies." Canadian Bar Review, 25 (Nov. 1947), 1037-38.
B443 Letter. International Journal, 4 (Summer 1949), 285-86.
B444 "Canadian Socialists." New Statesman and Natron, 20 Aug. 1949, pp. 196-97.
B445 "Sees Press Censorship in Proposed Quebec Act." The Gazette [Montreal], 21 March 1950, p. 6.
B446 W. Friedman, J.B. Milner, and F.E. LaBrie. "Loyalty Tests and the United Nations Secretariat." Canadian Bar Review, 30 (Dec. 1952), 1080-82. Rpt. in The New York Times, 1 March 1953, Sec. 4, p. 8E.
B447 "Provincial Control of Federal Elections." Canadian Bar Review, 31 (May 1953), 591-94.
B448 "Loss of Expectation of Life." Canadian Bar Review, 32 (Nov. 1954), 1062.
B449 Letter. Canadian Bar Review, 34 (Jan. 1956), 114-15.
B450 "Art and Charity and the Taxpayer." The Gazette [Montreal], 26 July 1956, p. 8.
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Source: Still, Robert (compiler); . Part 1: Works By F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 206-239 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP1.
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Record: 73- Title:
- Part 1 Works By F.R. Scott; Contributions to periodicals and books; Miscellaneous
- Other Title:
- Part 1 Works By F.R. Scott; Contributions to periodicals and books
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Part 1 Works By F.R. Scott; Contributions to periodicals and books; Miscellaneous
Still, Robert (compiler)
B451 "Evidence to the Special Committee on the British North America Act." Minutes of Proceedings and Evidence [Ottawa], No. 4 (1935), pp. 80-93.
B452 Whither Democracy?. Ottawa: CBC Radio, 1938. A series of forum broadcasts. Speakers: J.M. Macdonald, F. R. Scott, and J. T. Thorson.
B453 --, E. K. Brown, and Paul Martin. Which Way Canada?. NBC, 25 Feb. 1945.
B454 "Evidence to the Special Committee on Human Rights and Fundamental Freedoms." Minutes of the Senate of Canada, 25 April 1959, pp. 15-32.
B455 --, and Anne Hebert. "La traduction: Dialogue entre le traducteur of l'auteur." Ecrits du Canada francais, No. 7 (1960), pp. 194-236. Rpt. trans. F.R. Scott ("The Art of Translation: Dialogue between F.R. Scott and Anne Hebert") in The Tamarack Review, No. 24 (Summer 1962), pp. 65-90. AHFC (expanded -- "La traduction: Dialogue entre le traducteur et l'auteur").
B456 --, and Mayor Moore. "The Roncarelli Affair." In The Play's the Thing. Ed. Tony Gifford. Toronto: Macmillan, 1976, pp. 121-64. A script for a television play.
B457 "Arthur James Marshall Smith: A Memoir." A. J. M. Smith Symposium, Michigan State Univ., East Lansing, Mich. 8 May 1976.
B458 "Four of the Former Preview Editors: A Discussion." Canadian Poetry: Studies, Documents, Reviews, No. 4 (Spring-Summer 1979), pp. 93-119. According to D.M.R. Bentley and Michael Gnarowski this is "the transcript from a tape recorder left 'open' and allowed to run uninterrupted during a gathering at Scott's house m Montreal in 1965 of Bruce Ruddick, Neufville Shaw, Margaret Surrey, and, of course, F.R. Scott himself."
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Source: Still, Robert (compiler); . Part 1: Works By F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 206-239 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP1.
Item Number: ABCMA04FSP1000004003002008
Record: 74- Title:
- Part 1 Works By F.R. Scott; Contributions to periodicals and books; Poems
- Other Title:
- Part 1 Works By F.R. Scott; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04FSP1
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Source: Part 1: Works By F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 206-239
Part 1 Works By F.R. Scott; Contributions to periodicals and books; Poems
Still, Robert (compiler)
Note: When an item is reprinted in one of Scott's books, this fact is noted in the entry through one of the following abbreviations:
Admiralty Jurisdiction and Colonial Courts -- AJCC
Anne Hebert et Frank Scott: Dialogue
sur la traduction ------------------ AHFS
The Collected Poems of F. R. Scott ------------ CP
The Dance Is One ----------------------------- DIO
Essays on the Constitution -------------------- EC
Events and Signals ---------------------------- ES
The Eye of the Needle: Satires,
Sorties, Sundries -------------------- EN
Overture: Poems ------------------------------ O:P
The Policy of Neutrality for Canada ---------- PNC
St.-Denys Garneau and Anne Hebert ---------- SDGAH
Selected Poems -------------------------------- SP
Signature -------------------------------------- S
Socialism in the Commonwealth ----------------- SC
Technical Assistance and Economic Aid
through the United Nations --------- TAEA
Trouvailles: Poems from Prose --------------- T:PP
B1 "Lament, after Reading the Results of Schools." Isis, 1922, n. pag. Rpt. ("Sonnet: On Reading the Results of the Examinations") in McGill Fortnightly Review, 23 Jan. 1926, p. 43. Originally signed: "De Profundis." The reprinted version is signed: "T. T."
B2 "The Problem." Isis, 8 Nov. 1922, n. pag. CP.
B3 "To R. P. S." Isis, 17 Oct. 1923, n. pag.
B4 "The Scarlet Key Society." McGill Daily, 17 Oct. 1925, p. 2.
B5 "Miniature." McGill Fortnightly Review, 5 Dec. 1925, p. 13. Signed: "R. S."
B6 "To Beauty." McGill Fortnightly Review, 19 Dec. 1925 p. 20. Signed: "Brian Tuke."
B7 "Fantasy." McGill Fortnightly Review, 9 Jan. 1926, p. 33. CP. Signed: "T. T."
B8 "Sonnet." McGill Fortnightly Review, 9 Jan. 1926, p. 30. Signed: "Brian Tuke."
B9 "Frost in Autumn." McGill Fortnightly Review, 20 Feb. 1926, p. 56. CP.
B10 "Saturday Night." McGill Fortnightly Review, 20 Feb. 1926, p. 58. Signed: "Sax."
B11 "Sonnet." McGill Fortnightly Review, 6 March 1926, p. 64. CP. Signed: "Brian Tuke."
B12 "What Is Hid." McGill Fortnightly Review, 22 March 1926, p. 71. Signed: "R.S."
B13 "Sweeney Comes to McGill (With Apologies to Mr. Eliot)." McGill Fortnightly Review, 3 Nov. 1926, p. 4. EN ("Burlap Comes to McGill"); CP ("Sweeney Comes to McGill").
B14 "Trivium." McGill Fortnightly Review, 3 Nov. 1926, p. 6. EN ("Lines"). Originally published anonymously.
B15 "Sonnet (Written on a May Morning)." McGill Fortnightly Review, 17 Nov. 1926, p. 11.
B16 "xxx." McGill Fortnightly Review, 17 Nov. 1926, p. 14. CP. Signed: "x."
B17 "Below Quebec." McGill Fortnightly Review, 1 Dec. 1926, p. 22. Rpt. (revised) in The Canadian Forum, Sept. 1930, p. 434. O:P; SP; CP.
B18 "Fancies. [I. Stand by the window...], [II. Sharply place a cube edgewise ...], [III. I am all agog with winsomeness ...]." McGill Fortnightly Review, 1 Dec. 1926, p. 20. O:P (excerpt -- "Abstract [Sharply place a cube...]"); SP; CP. Originally signed: "T. T."
B19 "New Names." McGill Fortnightly Review, 15 Dec. 1926, p. 27. S; SP; CP. Signed: "T. T."
B20 "Decadence." McGill Fortnightly Review, 2 Feb. 1927, p. 39. Signed: "Bernard March."
B21 "November Pool." McGill Fortnightly Review, 18 Feb. 1927, p. 43. O:P; CP. Signed: "Bernard March."
B22 "Snowdrift." McGill Fortnightly Review, 18 Feb. 1927, p. 43. O:P; SP; CP. Signed: "Bernard March."
B23 "Villanelle of Manitou." McGill Fortnightly Review, 18 Feb. 1927, p. 42.
B24 "Diamonds." McGill Fortnightly Review, 10 March 1927, p. 53. Signed: "T. T."
B25 "Proud Cellist." McGill Fortnightly Review, 10 March 1927, p. 55. Rpt. in The Canadian Forum, Aug. 1930, p. 394. CP. Originally signed: "Bernard March."
B26 "Troubled Understanding." McGill Fortnightly Review, 25 March 1927, p. 63. Signed: "T. T."
B27 "Vale." McGill Fortnightly Review, 25 March 1927, p. 61. Signed: "Bernard March."
B28 "Woodcut Figure with Pebbles." McGill Fortnightly Review, 25 March 1927, p. 61. Signed: "Bernard March."
B29 "The Canadian Authors Meet." McGill Fortnightly Review, 27 April 1927, p. 73. Rpt. (revised) in The Canadian Forum, Dec. 1935, p. 388. Rpt. in Arena [New Zealand], No. 27 (1951), p. 13. Rpt. in Canadian Author & Bookman, 42 (Spring 1967), 9. O:P; EN; SP; CP.
B30 "Vagrant." Canadian Mercury, 1 (Dec. 1928), 17. O:P (revised); EN; SP; CP.
B31 "Old Song." Canadian Mercury, 1 (Feb. 1929), 62. O:P (revised); SP; CP.
B32 "Spring Flame." Canadian Mercury, 1 (Feb. 1929), 62. CP.
B33 "March Field." Canadian Mercury, 1 (June 1929), 126. O:P (revised); SP; CP.
B34 "Sweeney Graduates (With All Necessary Apologies)." McGilliad, 1 (April 1930), 9. O:P ("Burlap Graduates"); EN; CP ("Sweeney Graduates").
B35 "Sunday." The Canadian Forum, Aug. 1930, p. 394.
B36 "Young Lovers Old." The Canadian Forum, Aug. 1930, p. 394.
B37 "Tourist Time." The Canadian Forum, Oct. 1930, p. 12. Rpt. in Literary Digest, 22 Nov. 1930, p. 24. O:P (revised); EN; SP; CP.
B38 "Decay of Cleric." The Canadian Forum, Nov. 1930, P. 55. EN; CP.
B39 "Epitaph for a Financier." The Canadian Forum, Nov. 1930, p. 55. O:P ("Epitaphs: Financier, Lawyer, Professor"); EN; CP.
B40 "Epitaph for a Lawyer." The Canadian Forum, Nov. 1930, p. 55. O:P ("Epitaphs: Financier, Lawyer, Professor"); EN; CP
B41 "Epitaph for You and Me." The Canadian Forum, Nov. 1930, p. 55.
B42 "Trees in Ice." The Canadian Forum, Dec. 1931, p. 90. O:P (revised); SP.
B43 "Waking." The Canadian Forum, Jan. 1932, p. 131. O:P (revised -- "Grey Morning"); CP.
B44 "An Anthology of Up-to-Date Canadian Poetry." The Canadian Forum, May 1932, pp. 290-91. O:P ("Social Notes"); EN; SP; CP ("Social Notes 1, 1932"). Initially published as a series of nineteen short poems, including "Big Brothers," "British Traditions," "Democracy: 1832-1932," "Epilogue," "Hanged by the Neck," "The Hero," "Hospital," "How Obvious," "Justice," "Land of Opportunity," "Modern Medicine," "Natural Resources," "The New Philanthropy," "Our Institutions," "Prologue," "Sound Finance," "Summer Camp," "Treasure in Heaven," and "Xmas Shopping." Twelve of the thirteen poems under this general title were reprinted in either O:P, EN, SP, or CP. The reprinted material appeared as follows: "Hospital" in O:P ("Social Notes: II. Hospital"), "Justice" in O:P ("Social Notes: v. Justice"), "Modern Medicine" in O:P ("Social Notes: IV. Modern Medicine"), "Summer Camp" in O:P ("Social Notes: I. Summer Camp"), "Treasure in Heaven" in O:P ("Social Notes: VI. Treasure in Heaven"), "Xmas Shopping" in O:P ("Social Notes: III. Christmas Shopping"), "Justice" in EN ("Social Notes: Justice"), "Natural Resources" in EN ("Social Notes: Natural Resources"), "The New Philanthropy" in EN ("Social Notes: The New Philanthropy"), "Sound Finance" in EN ("Social Notes: Sound Finance"), "Summer Camp" in EN ("Social Notes: Summer Camp"), "Treasure in Heaven" in EN ("Social Notes: Treasure in Heaven"), "Xmas Shopping" in EN ("Social Notes: Christmas Shopping"); "Hanged by the Neck" in SP ("Social Notes: IV. Hanged by the Neck"), "Justice" in SP ("Social Notes: III. Justice"), "Summer Camp" in SP ("Social Notes I. Summer Camp"), "Treasure in Heaven" in SP ("Social Notes V. Treasure in Heaven), and "Xmas Shopping" in SP ("Social Notes: II. Christmas Shopping"); "Epilogue" in CP ("Social Notes I, 1932: Epilogue"), "Justice" in CP ("Social Notes I, 1932: VI. Justice"), "Land of Opportunity" in CP ("Social Notes I. 1932: VII. Land of Opportunity"), "Modern Medicine" in CP ("Social Notes I, 1932: V. Modern Medicine"), "Natural Resources" in CP ("Social Notes t, 1932: I. Natural Resources"), "The New Philanthropy" in CP ("Social Notes I, 1932: II. The New Philanthropy"), "Prologue" m CP ("Social Notes I, 1932: Prologue"), "Summer Camp" in CP ("Social Notes I, 1932: III. Summer Camp"), "Treasure in Heaven" in CP ("Social Notes I, 1932: VII. Treasure in Heaven"), and "Xmas Shopping" in CP ("Social Notes 1, 1932: IV. Xmas Shopping").
B45 "Social Notes." The Canadian Forum, March 1935, P. 220. O:P; EN ("Efficiency" and "Social Notes"); SP ("Social Notes"); CP ("Social Notes II, 1935"). A series of thirteen short poems, including "Coming Home," "Credit," "Efficiency," "Expert Advice," "General Election," "Government Help," "Great Discovery," "Motherhood," "Observation" "Penology," "Protection," "Royal Commission," and "Stevens' Enquiry." Eight of the thirteen poems under this general title were reprinted in either O:P, EN, SP, or CP. The reprinted material appeared as follows: "Efficiency" in O'P ("Social Notes: vn. Efficiency"); "Efficiency" in EN, "General Election" in EN ("Social Notes: General Election, 1935"); "Efficiency" in SP ("Social Notes: VI. Efficiency: 1935"); "Coming Home" in CP ("Social Notes II, 1935: IV. Coming Home"), "Efficiency" in CP ("Social Notes II, 1935: I. Efficiency"), "Expert Advice" in CP ("Social Notes II, 1935: in. Expert Advice"), "General Election" in CP ("Social Notes II, 1935: VIII. General Election"), "Government Help" in CP ("Social Notes II, 1935: VII. Government Help"), "Great Discovery" in CP ("Social Notes II, 1935: v. Great Discovery"), "Motherhood" in CP ("Social Notes II, 1935: II. Motherhood"), and "Observation" in CP ("Social Notes II, 1935: VI. Observation").
B46 "Epitaph for a Professor." Canadian Poetry Magazine, 1, No. 1 (Jan. 1936), 17. O:P ("Epitaphs: Financier, Lawyer, Professor"); EN; CP.
B47 "O Tempora." Canadian Poetry Magazine, 1, No. 1 (Jan. 1936), 17.
B48 "Lampoon." The Canadian Forum, June 1938, p. 70. Published anonymously.
B49 "Quebec Election." The Canadian Forum, Dec. 1939, p. 271
B50 "Dedication." Poetry [Chicago], 58 (April 1941), 13. O:P; SP; CP.
B51 ["From those condemned to labour ...."] Poetry [Chicago], 58 (April 1941), 12-13. Published with ["When I see the falling bombs ..."] (B52) under the heading "Two Poems."
B52 ["When I see the falling bombs .... "] Poetry [Chicago], 58 (April 1941), 12-13. O:P ("Conflict"); SP; CP. Initially published with ["From those condemned to labour ..."] (B51) under the heading "Two Poems."
B53 "Dialogue." Poetry [Chicago], 59 (Nov. 1941), 87- 88. O:P; SP; CP.
B54 "To Certain Friends." Poetry [Chicago], 59 (Nov. 1941), 88-89. O:P; EN; SP; CP.
B55 "Devoir Molluscule." In An Anthology of Canadian Poetry. Ed. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1942, p. 75. O:P; SP; CP.
B56 "Full Valleys." In An Anthology of Canadian Poetry. Ed. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1942, pp. 74-75. O:P.
B57 "Advice." Preview, No. 1 (March 1942), p. 4. O:P; SP; CP.
B58 "Recovery." Preview, No. 1 (March 1942), p. 6. O:P; SP; CP.
B59 "Boston Tea Party: 1940." Preview, No. 2 (April 1942), p. 12. O:P; EN; SP ("Boston Tea Party 1940"); CP.
B60 "Ode to a Politician." Preview, No. 3 (May 1942), pp. 13-14. O:P; EN; SP; CP.
B61 "Fragment." Preview, No. 6 (Aug. 1942), p. 36. O:P (revised -- "Armageddon"); SP; CP. The poem appears as Part I of "Armageddon" in the reprints.
B62 "Flux." Preview, No. 12 (March 1943), p. 5. Rpt. in Voices (Canadian Issue), No. 113 (Spring 1943), p. 17. O:P; SP; CP.
B63 "Paradise Lost." Preview, No. 12 (March 1943), pp. 5-6. O:P; SP; CP.
B64 "Hardest It Is." Voices (Canadian Issue), No. 113 (Spring 1943), p. 16. O:P; SP; CP.
B65 "The Barons." Preview, No. 13 (May 1943), pp. 6- 8. O:P; EN; CP.
B66 "Examiner." Preview, No. 14 (July 1943), p. 4. Rpt. in Poetry [Chicago], 63 (March 1944), 313. O:P; SP; CP.
B67 "For R. A. S.: 1925-1942." Preview, No. 15 (Aug. 1943), p. 11. Rpt. in Poetry [Chicago], 63 (March 1944), 315-16. O:P ("For R. A. S. [1925-1943]"); SP ("For R. A. S. 1925-1942"); CP.
B68 "Enemies." Preview, No. 16 (Oct. 1943), P. 7. O:P; SP; CP.
B69 "Non-Essential." Preview, No. 16 (Oct. 1943), P. 9.
B70 "Trans Canada." Preview, No. 18 (Feb. 1944), P. 6. O:P; SP.
B71 "Resurrection." Poetry [Chicago], 63 (March 1944), 313. O:P; SP; CP.
B72 "Saturday Sundae." Preview, No. 19 (March 1944), pp. 7-8. O:P; EN; SP; CP.
B73 "Villanelle for Our Time." Poetry [Chicago], 63 (March 1944), 317. O:P; CP.
B74 "Bedside." Preview, No. 21 (Sept. 1944), p. 6. O:P; SP; CP.
B75 "Windfall." Preview, No. 21 (Sept. 1944), p. 6. O:P; SP; CP.
B76 "War News." Poetry [Chicago], 63 (Nov. 1944), 317. O:P; SP; CP.
B77 "Laurentian Shield." Northern Review, 1, No. 4 (Dec.-Jan. 1945-46), 12. ES; SP; CP.
B78 "Orderly Decontrol: 1947." The Canadian Forum, May 1947, P. 31. EN; SP ("'Orderly Decontrol' 1947"); CP ("Orderly Decontrol 1947").
B79 "The Bird." Contemporary Poetry, 8, No. 1 (Spring 1948), 8. ES; SP; CP.
B80 "The Spring Virgin Cries at Her Cult." Contemporary Poetry, 8, No. 1 (Spring 1948), 8. ES; SP; CP.
B81 "Command of the Air." Contemporary Verse, No. 26 (Fall 1948), p. 8. ES; EN; CP.
B82 "Eden." Contemporary Verse, No. 26 (Fall 1948), p. 7. ES; EN; SP; CP.
B83 "Signature." Contemporary Verse, No. 26 (Fall 1948), p. 6. ES; SP; CP.
B84 "Will to Win." Contemporary Verse, No. 26 (Fall 1948), p. 6. ES; SP.
B85 "The Canadian Social Register." Saturday Night, 15 March 1949, P. 21. ES; EN; SP; T:PP; CP.
B86 "For Bryan Priestman." Contemporary Verse, No. 32 (Summer 1950), p. 11. ES; SP; CP.
B87 "For Cathy Fiscus." Contemporary Verse, No. 32 (Summer 1950), p. 12. ES; CP.
B88 "For Pegi Nicol." Contemporary Verse, No. 32 (Summer 1950), pp. 11-12. ES; SP; CP.
B89 "Picture in Life." Contemporary Verse, No. 32 (Summer 1950), P. 10. ES ("Picture in Life"); EN; SP ("Picture in Life"); CP.
B90 "Some Privy Counsel." Canadian Bar Review, 28 (Aug. 1950), 780. ES; EN; CP.
B91 "Lakeshore." Northern Review, 3, No. 6 (Aug.- Sept. 1950), 12-13. ES; SP; CP.
B92 "Lesson." Northern Review, 3, No. 6 (Aug.-Sept. 1950), 16. ES; SP; CP.
B93 "Picnic." Northern Review, 3, No. 6 (Aug.-Sept. 1950), 14-15. ES; SP; CP.
B94 "On the Death of Gandhi." Poetry Commonwealth, No. 8 (Spring 1951), p. 9. Rpt. in Contemporary Verse, No. 36 (Fall 1951), p. 10. ES; SP; CP.
B95 "Last Rites." Contemporary Verse, No. 36 (Fall 1951), pp. 10-11. ES; SP; CP.
B96 "Memory." Mitre [Diamond Jubilee Issue], 60, No. 3 (1953), 37. ES; SP; CP.
B97 "Sculptor." Mitre [Diamond Jubilee Issue], 60, No. 3 (1953), 37.
B98 "Bonne Entente." Saturday Night, 20 March 1954, p. 8. ES; EN; SP; CP.
B99 "Caring." Saturday Night, 27 March 1954, p. 8. ES; SP; CP.
B100 "Invert." Saturday Night, 3 July 1954, p. 14. ES; SP; CP.
B101 "My Amoeba Is Unaware." Canadian Medical Association Journal, 71 (Sept. 1954), 279. ES; SP; CP.
B102 "Poetry." CIV/n, No. 6 (Sept. 1954), p. 4. ES; SP; CP.
B103 "Sonnet [Take a look at the Sat. Eve Post ...]." CIV/n, No. 6 (Sept. 1954), P. 4. ES ("Social Sonnets II"); CP (revised -- "Two Sonnets for Free Enterprise: II. Ad-men").
B104 "St. Boniface." Queen's Quarterly, 62 (Spring 1955), 57. S; SP ("St Boniface"); CP ("St. Boniface").
B105 "Cloth of Gold." Origin, No. 18 (Winter-Spring 1956), p. 77. Rpt. ("Power") in Exchange, Nov. 1961, p. 15. S ("Cloth of Gold"); SP; CP.
B106 "The Founding of Montreal." Origin, No. 18 (Winter-Spring 1956), p. 76. EN; CP.
B107 "Press Report." Saturday Night, 17 March 1956, p. 33. EN; CP.
B108 "The Dew Line." Saturday Night, 29 Sept. 1956, p. 18. S ("Dew Lines"); T:PP; CP ("Dew Lines 1956").
B109 "Yes or No ." Yes, I, No. 4 (Feb. 1957), 10. S; CP.
B110 "Books of Poems. Pan-ic [N.Y.], No. 2 (1958), n. pag. S; SP; CP.
B111 "Flying to Fort Smith." Pan-ic [N.Y.], No. 2 (1958), n. pag. S; SP; DIO; CP.
B112 "Is." Yes, 2, No. 3 (Feb. 1958), 5. S; CP.
B113 "General Election, 1958." Delta [Montreal], No. 5 (Oct. 1958), p. 8. S ("General Election 1958"); CP.
B114 "Snowballs for You, Mr. Josephs." Delta [Montreal], No. 5 (Oct. 1958), pp. 7-8. CP.
B115 "Assent." Delta [Montreal], No. 6 (Jan. 1959), p. 27.
B116 "Last Relics." Anglican Outlook, 14 (June-July 1959), 6.
B117 "The Bartail Cock." Moment, No. 3 (1960), P. 4. S; CP.
B118 "No Curtain." The New York Times, 11 Sept. 1961, p. 26. S; CP.
B119 "To the Poets of India." The New York Times, 28 Jan. 1962, Sec. 4, p. 8E. S; SP; CP.
B120 "Lips." Delta [Montreal], No. 18 (June 1962), p. 26. Rpt. in British Columbia Library Quarterly, 36, Nos. 2-3 (Oct.-Jan. 1972-73), 31. S ("Diagonals: Lips").
B121 "Stars." Delta [Montreal], No. 18 (June 1962), p. 26. S ("Diagonals: Hands").
B122 "Departure." Maclean's, 20 Oct. 1962, p. 33. ES; SP; CP.
B123 "Goodbye to All That." Queen's Quarterly, 70 (Spring 1963), 103. S; CP.
B124 "National Identity." Maclean's, 1 June 1963, p. 2. DIO; CP.
B125 "Eclipse." The Montreal Star, 19 July 1963, p. 8. S; SP; CP.
B126 "Big Campus." Catapult, No. 2 (Summer 1964), n. pag. DIO; CP.
B127 "Population Explosion." Catapult, No. 2 (Summer 1964), n. pag. DIO.
B128 "In a Mirror Dimly." Christian Outlook, Aug.Sept. 1965, p. 20.
B129 "Impressions." The Canadian Forum, Oct. 1965, p. 148. DIO; CP.
B130 "Advertisement." Canadian Literature, No. 31 (Winter 1967), p. 39. T:PP.
B131 "British Industrialist Approves Apartheid." Canadian Literature, No. 31 (Winter 1967), pp. 36-37. T:PP; CP.
B132 "Frost-Bite." Canadian Literature, No. 31 (Winter 1967), pp. 38-39. T:PP.
B133 "One Cure for Loneliness." Canadian Literature, No. 31 (Winter 1967), p. 37. T:PP; CP.
B134 "New Theology (for Marianne Moore)." Queen's Quarterly, 74 (Spring 1967), 75.
B135 "On the Death of God." Queen's Quarterly, 74 (Spring 1967), 75.
B136 "La planification familiale au Quebec (from a circular received by mail)." Queen's Quarterly, 74 (Spring 1967), 76. T:PP ("La Planification Familiale au Quebec"); CP.
B137 "Happening at Aldridge's Pond." Saturday Night, April 1967, p. 41. DIO; CP.
B138 "La Revolution Tranquille." The Gazette [Montreal], 8 April 1967, p. 6. DIO ["La Revolution Tranquille (Montreal's New International Airport)"]; CP ("La Revolution Tranquille").
B139 "Basement Restaurant." Poetry Australia, 16 (June 1967), 28. DIO; CP.
B140 "Yours." Poetry Australia, 16 (June 1967), 28. DIO; CP.
B141 "Pamplona, July 1969." Saturday Night, Sept. 1969, p. 20. DIO; CP.
B142 "Chasm." The Tamarack Review, No. 49 (Autumn 1969), p. 3I. DIO; CP.
B143 "Feed-Back (for Leon Dion)." The Tamarack Review, No. 49 (Autumn 1969), p. 32. DIO ["Feed-Back (For Leon Dion)"]; CP ("Feed-back").
B144 "On the Terrace, Quebec." The Tamarack Review, No. 49 (Autumn 1969), p. 28. DIO; CP.
B145 "Regina 1967." The Tamarack Review, No. 49 (Autumn 1969), p. 29. DIO ("Regina, 1967"); CP ("Regina 1967").
B146 "Signal." The Tamarack Review, No. 49 (Autumn 1969), p. 27. DIO; CP.
B147 "Span." The Tamarack Review, No. 49 (Autumn 1969), P. 32. DIO; CP.
B148 "TV Weatherman (For Percy Saltzman)." The Tamarack Review, No. 49 (Autumn 1969), pp. 3031. DIO; CP ("TV Weather Man").
B149 "The Miniaturised Groom." The Canadian Forum, April-May 1970, p. 5. DIO.
B150 "Two Indias." The Canadian Forum, April-May 1970, p. 97. DIO.
B151 "Open House, McGill." McGill News, Nov. 1971, p. 12. DIO; CP.
B152 "The Wheels of Justice." McGi11 Law Journal, 18 (1972), 462. DIO ("Two Items: II. The Wheels of Justice").
B153 "Poem for Living." Queen's Quarterly, 79 (Autumn 1972), 312-13. DIO; CP.
B154 "On Saying Goodbye to Chancellor Day Hall, 1967." The Canadian Forum, Dec. 1972, p. 5. DIO ("On Saying Good-Bye to My Room m Chancellor Day Hall"); CP ("On Saying Goodbye to My Room in Chancellor Day Hall").
B155 "Advice to Permissive Poets." Tuatara [Victoria], II (Winter 1973), 20.
B156 "Dow Jones." Tuatara [Victoria], II (Winter 1973), 20.
B157 "Metric Blues." Consensus, 1, No. 2 (May 1974), P. 4. DIO.
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Source: Still, Robert (compiler); . Part 1: Works By F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 206-239 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP1.
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Record: 75- Title:
- Part 1 Works By F.R. Scott; Contributions to periodicals and books; Published Addresses
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- Part 1 Works By F.R. Scott; Contributions to periodicals and books
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
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- Bibliography
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- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04FSP1
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Source: Part 1: Works By F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 206-239
Part 1 Works By F.R. Scott; Contributions to periodicals and books; Published Addresses
Still, Robert (compiler)
B400 "Le C.C.F. et la centralisation." Saskatchewan C.C.F. Research Bureau, 1, No. 6 (Jan. 1934), 1114.
B401 "What Changes Are Required in the Forms and Methods of Government Administration?". Canadian Institute of Economics and Political Science: Addresses and Outlines, No. 89 (Dec. 1934), pp. 29-32.
B402 "Towards a True Democracy." McDonald College Journal, Sept. 1941, pp. 3, 28.
B403 Address. Federation of Canadian Artists Bulletin, March 1942., n. pag.
B404 "The Nature of Economic Planning." Planning for Freedom: 16 Lectures on the C.C.F., Its Policies and Program. Ontario: C.C.F., 1944, pp. 5-11.
B405 "The C.C.F., the League and Canadian Progressives." A Symposium, Hotel Roosevelt, New York. 3 Feb. 1945. Printed in Forty Years of Education: The Task Ahead. Ed. Harry W. Laidler. New York: League for Industrial Democracy, 1945, pp. 24-28.
B406 "Where Does Canada Go from Here?". United Nations News, June 1948, pp. 8-9, 18-19.
B407 "La medicine sociale." Conference Layennee, Hospital des Veterans (Queen Mary), Montreal. 19 jan. 1949. Printed in Revue Medicale de l'Universite de Montreal 1 (avril 1949), 57-68. Rpt. (trans. -"Social Medicine") in The Camsi Journal, 8, No. 3 (Oct. 1949), 9-16.
B408 "Federal Jurisdiction over Labour Relations: A New Look." Eleventh Annual Conference of Industrial Relations Centre, McGill Univ., Montreal. 1011 Sept. 1959. Printed in Unions and the Future. Ed. H. D. Woods. Montreal: McGill Univ. Press, 1959, pp. 35-51. EC.
B409 [sic; Malcolm Ross]. "Presentation of Medals: Lorne Pierce Medal; Morley Callaghan." Proceedings and Transactions of the Royal Society of Canada, Ser. 3, Sec. II, 54 (June 1960), 56-57. Scott did read the presentation, although Ross wrote it.
B410 "Presentation of Medals: Tyrell Medal; Samuel Delbert Clark." Proceedings and Transactions of the Royal Society of Canada, Ser. 3, Sec. II, 54 (June 1960), 57.
B411 "Presentation of Medals: Lorne Pierce Medal; Robertson Davies." Proceedings and Transactions of the Royal Society of Canada, Set. 3, Sec. II, 55 (June 1961) 51-52.
B412 "Presentation of Medals: Tyrell Medal; Guy Fregault." Proceedings and Transactions of the Royal Society of Canada, Ser. 3, Sec. II, 56 (June 1962), 59.
B413 "The Place of an Academy in the Modern World." Proceedings and Transactions of the Royal Society of Canada, Ser. 3, Sec. 11, 57 (June 1963), 16-20.
B414 "Presentation of Medals: Lorne Pierce Medal; A. J. M. Smith." Proceedings and Transactions of the Royal Society of Canada, Ser. 3, Sec. II, 59 (June 1966), 56-57.
B415 "Modern Poetry." Canadian Poetry. Studies, Documents, Reviews, No. 4 (Spring-Summer 1979), pp. 74-83. According to D.M.R. Bentley and Michael Gnarowski "The address on 'Modern Poetry' was delivered in the 'twenties, probably in c. 1928, to a gathering of interested people in Montreal."
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Source: Still, Robert (compiler); . Part 1: Works By F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 206-239 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP1.
Item Number: ABCMA04FSP1000004003002006
Record: 76- Title:
- Part 1 Works By F.R. Scott; Contributions to periodicals and books; Reprinted anthology contributions: A selection
- Other Title:
- Part 1 Works By F.R. Scott; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04FSP1
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Source: Part 1: Works By F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 206-239
Part 1 Works By F.R. Scott; Contributions to periodicals and books; Reprinted anthology contributions: A selection
Still, Robert (compiler)
B190 "Calvary," "The Canadian Authors Meet," "Efficiency," "March Field," "Overture," "Summer Camp," "Surfaces," "Teleological," "Trees in Ice," and "Vagrant." In New Provinces: Poems of Several Authors. Ed. A. J. M. Smith, F. R. Scott, et at. Toronto: Macmillan, 1936, pp. 51-61.
B191 "Dedication," "Devoir Molluscule," "Full Valleys," "Old Song," and "Tourist Time." In An Anthology of Canadian Poetry (English). Ed. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1942, pp. 74-76.
B192 "The Canadian Authors Meet," "Conflict," "Dedication," "Hardest It Is," and "Tourist Time." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. A. J. M. Smith. Chicago: Univ. of Chicago Press, 1943, pp. 359-61.
B193 "Conflict," "Lakeshore," "Lesson," and "Old Song." In Canadian Poems: 1850-1952. Ed. Louis Dudek and Irving Layton. 2nd ed., revised. Toronto: Contact, 1953, pp. 71-74.
B194 "Eden," "Examiner," and "For Brian Priestman." In 20th Century Canadian Poetry: An Anthology. Ed. Earle Birney. Toronto: Ryerson, 1953, pp, 103, 45, 70.
B195 "Conflict," "Full Valleys," "Recovery," "Saturday Sundae," "Someone Could Certainly Be Found," and "Windfall." In Canadian Poetry in English. Ed. Bliss Carman, Lorne Pierce, and V. B. Rhodemzer. Rev. and enl. ed. Toronto: Ryerson, 1954, pp. 290-93.
B196 "Bonne Entente," "Brebeuf and His Brethren," "The Call of the Wild," "The Canadian Authors Meet," "The Canadian Social Register," "Lest We Forget," "Saturday Sundae," and "W. L. M. K." In The Blasted Pine: An Anthology of Satire, Invective and Disrespectful Verse, Chiefly by Canadian Writers. Ed. F.R. Scott and A.J.M. Smith. Toronto: Macmillan, 1957, pp. 27, 33, 48, 51, 59, 84, 93, 107.
B197 "Bonne Entente," "Caring," "Conflict," "A Grain of Rice," "Old Song," and "Trans Canada." In The Penguin Book of Canadian Verse. Ed. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1958, pp. 128-32.
B198 "Bangkok," "Bonne Entente," "The Canadian Authors Meet," "Lakeshore," "Laurentian Shield," and "Will to Win." In The Oxford Book of Canadian Verse: In English and French. Ed. A.J.M. Smith. Toronto: Oxford Univ. Press, 1960, pp. 182-88.
B199 "A la Claire Fontaine," "The Closed Room," "Hope That Triumphs," "One of Our Strangers," "Polar Weather," "The Prodigal Son," "Time Corrected," and "The Two Hands." In The First Five Years: Selections from The Tamarack Review. Ed. Robert Weaver. Toronto: Oxford Univ. Press, 1962, pp. 305-14.
B200 "Calamity," "Conflict," "Eden," "For Bryan Priest-man," "Old Song," and "Tourist Time." In A Book of Canadian Poems: An Anthology for Secondary Schools. Ed. Carlyle King. Toronto: McClelland and Stewart, 1963, pp. 23, 93, 124, 142.
B201 "Calvary," "The Canadian Authors Meet," "Caring," "Eden," "Invert," "Last Rites," "Manor Life," "March Field," "Mural," "Old Song," "Overture," "Saturday Sundae," "Social Sonnets II [Take a look at the Sat Eve Post...]," "Surfaces," "Trans Canada," "Union," and "Vagrant." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 2nd ed. Toronto: Gage, 1966, pp. 265-72.
B202 "Abstract," "Advice," "A l'ange avantgardien," "All the Spikes but the Last," "The Bartail Cock," "Bonne Entente," "The Canadian Authors Meet," "The Canadian Social Register," "Caring," "Devoir Molluscule," "Eclipse," "Eden," "Efficiency: 1935," "Finis the Cenci," "Flying to Fort Smith," "Hardest It Is," "Lakeshore," "Laurentian Shield," "Mackenzie River," "Mount Royal," "North Stream," "Ode to a Politician," "Old Song," "Overture," "Poetry," "Summer Camp," "Vision," and "W. L. M. K." In Poets Between the Wars: E. J. Pratt, F. R. Scott, A. J. M. Smith, Dorothy Livesay, A. M. Klein. New Canadian Library Original, No, O5. Ed. Milton Wilson. Toronto: McClelland and Stewart, 1967, pp. 82-102,.
B203 "A l'ange avantgardien," "Bangkok," "Cloth of Gold," "Lakeshore," "A Lass in Wonderland," and "Vision." In Modern Canadian Verse: In English and French. Ed. A. J. M. Smith. Toronto: Oxford Univ. Press, 1967, pp. 21-27.
B204 "Manor Life," "Snow," "There Is Certainly Someone," "The Two Hands," and "Weights and Measures." In The Poetry of French Canada in Translation. Ed. John Glassco. Toronto: Oxford Univ. Press, 1970, pp. 111, 131, 133, 138-39.
B205 "Bonne Entente," "The Canadian Authors Meet," "Dancing," "Lakeshore," "Laurentian Shield," "North Stream," "This Is a Law," and "Will to Win." In Selections from Major Canadian Writers. Poetry and Creative Prose in English. Ed. Desmond Pacey. Toronto: McGraw-Hill Ryerson, 1974, pp. 48-54.
B206 "Accompaniment," "A La Claire Fontaine," "Angel," "As If for a Holiday," "At One Time," "Bird Cage," "The Closed Room," "Communion," "A Dead Man Asks for a Drink," "Farewell to the Frenchmen Returning from New France to Gallic France," "The Forerunner," "The Game," "Greener Than Nature," "Hail to Thee," "Hope That Triumphs," "Inventory," "Knowing," "Landscape Estranged," "The Lean Girl," "Manor Life,' "My Eyes a River," "Now Comes the Time," "Perpetual Beginning," "The Philanthropists," "Polar Season," "The Prodigal Child," "Rue Saint-Denis," "Snow," "Spectacle of the Dance," "The Stranger Hereabouts," "State of Seige," "I here Is Certainly Someone," "Time Corrected," "The Tomb of the Kings," "Towards Dawn," "The Two Hands," and "Weights and Measures." In Poems of French Canada. Ed. F. R. Scott. Burnaby, B.C.: Blackfish, 1977, pp. 1-32, 34-38, 40-59.
B207 "Charity," "Communion," "Degeneration," "Eclipse," "Epitaph," "General Election 1935," "Greener than Nature," "Is," "Snow," "Winter Sparrows," "Yes and No," and "Yours." In To Say the Least: Canadian Poetry from A to Z. Ed. and introd. P. K. Page. Toronto: Porcepic, 1979, pp. 22, 45, 64, 67, 71, 75, 79, 97, 101, 111, 112, 115.
B208 "Advice," "Bonne Entente," "The Canadian Authors Meet," "Dancing," "Eden," "Lakeshore," and "Old Song." In Introduction to Poetry: British, American, Canadian. Ed. Jack David and Robert Lecker. Toronto: Holt, Rinehart and Winston, 1981, pp. 565-67.
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Source: Still, Robert (compiler); . Part 1: Works By F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 206-239 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP1.
Item Number: ABCMA04FSP1000004003002003
Record: 77- Title:
- Part 1 Works By F.R. Scott; Contributions to periodicals and books; Reviews
- Other Title:
- Part 1 Works By F.R. Scott; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 1: Works By F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 206-239)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04FSP1
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Source: Part 1: Works By F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 206-239
Part 1 Works By F.R. Scott; Contributions to periodicals and books; Reviews
Still, Robert (compiler)
B386 Rev. of One Increasing Purpose, by A. S. M. Hutchinson. McGill Fortnightly Review, 5 Dec. 1925, p. 12.
B387 "The Red and White Revue." McGill Fortnightly Review, 22 March 1926, p. 83.
B388 "Form in Poetry." Rev. of A Survey of Modernist Poetry, by Laura Riding and Robert Graves. The Canadian Forum, Jan. 1929, pp. 136-37.
B389 Rev. of Art and the Reformation, by C. C. Coulton. Canadian Mercury, 1 (Feb. 1929), 68.
B390 Rev. of John Brown's Body, by Stephen Vincent Benet. Canadian Mercury, 1 (March 1929), 89-90.
B391 Rev. of Wild Garden, by Bliss Carman. Canadian Mercury, 1 (June 1929), 140-41.
B392 "Canada and Foreign Affairs." Rev. of Canada in World Affairs, by F. H. Stoddard, J. F. Parkinson, N. A.M. Mackenzie, and T.W.L. McDermott. University of Toronto Quarterly, 11 (Oct. 1941), 120-22.
B393 Rev. of The Yogi and the Commissar, by Arthur Koestler. Northern Review, 1, No. 4 (Dec.-Jan. 1945-46), 46-48.
B394 Rev. of The Government of Canada, by R. Macgregor Dawson. International Journal, 3 (Spring 1948), 166-68.
B395 Rev. of Yearbook of the United Nations, 1946-1947. International Journal, 3 (Autumn 1948), 365-66.
B396 Rev. of Insight and Outlook, by Arthur Koestler. Northern Review, 3, No. 7 (Oct.-Nov. 1949), 5254.
B397 Rev. of Charter of the United Nations: Commentary and Documents, by Leland M. Goodrich and Edward Hambro. International Journal, 5 (Spring 1950), 173.
B398 Rev. of Constitutions of Nations, by Amos J. Peaslee. International Journal, 6 (Winter 1950-51), 63-64.
B399 Rev. of Canada, by George W. Brown. Northern Review, 4, No. 3 (Feb.-March 1951), 39-40.
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B158 "Song of May and Virtue." McGill Literary Supplement, II March 1925, p. 3. Translated from the French of Clement Marot.
B159 "Two Epigrams [I. Ah, Friendly Spring...], [II. Love would heap scorn upon her sister Spring...]." McGill Fortnightly Review, 21 Nov. 1925, p. 7. CP (excerpt, revised -- "Epigram [Love would heap scorn upon her sister spring...]"). Translated from the Italian of de Rossi.
B160 "The Forerunner." Mitre, 54 (1946), 76. ES; CP. Translated from the French of J. C. Harvey.
B161 "The Lean Girl." Northern Review, 5, No. 5 (June-July 1952), 29. ES ("Translations from Anne Hebert: II. The Lean Girl"); SDGAH ("The Lean Girl"); CP. Translated from the French of Anne Hebert.
B162 "A Mask for a Holiday." Northern Review, 5, No. 5 (June-July 1952), 29. ES ("Translations from Anne Hebert: I. A Mask for a Holiday"); SDGAH (revised -- "As if for a Holiday"); CP. Translated from the French of Anne Hebert.
B163 "Time Corrected." Origin, No. 18 (Winter 1956), p. 78. Rpt. in The Tamarack Review, No. 7 (Spring 1958), p. 44. SP; CP. Translated from the French of Pierre Trottier.
B164 "Accompaniment." The Tamarack Review, No. 4 (Summer 1957), p. 55. SDGAH; CP. Translated from the French of Saint-Denys Garneau.
B165 "Bird Cage." The Tamarack Review, No. 4 (Summer 1957), p. 59. SDGAH; CP. Translated from the French of Saint-Denys Garneau.
B166 "The Game." The Tamarack Review, No. 4 (Summer 1957), pp. 56-57. SP; SDGAH; CP. Translated from the French of Saint-Denys Garneau.
B167 "The Spectacle of the Dance." The Tamarack Review, No. 4 (Summer 1957), pp. 57-58. SDGAH ("Spectacle of the Dance"); CP. Translated from the French of Saint-Denys Garneau.
B168 "A la Claire Fontaine." The Tamarack Review, No. 7 (Spring 1958), p. 45. DIO; CP ("a la Claire Fontaine"). Translated from the French of Pierre Trottier.
B169 "The Closed Room (1953)." The Tamarack Review, No. 7 (Spring 1958), pp. 48-49. SDGAH; CP. Translated from the French of Anne Hebert.
B170 "Hope That Triumphs." The Tamarack Review, No. 7 (Spring 1958), p. 47. DIO; CP. Translated from the French of Jean-Guy Pilon.
B171 "One of Our Strangers." The Tamarack Review, No. 7 (Spring 1958), p. 49. SP ("The Stranger Hereabouts"); CP. Translated from the French of Jean-Guy Pilon.
B172 "Polar Weather." The Tamarack Review, No. 7 (Spring 1958), pp. 50-51. SP ("Polar Seasons"); CP ("Polar Season"). Translated from the French of Roland Giguere.
B173 "The Prodigal Son." The Tamarack Review, No. 7 (Spring 1958), p. 52. DIO; CP. Translated from the French of Gilles Henault.
B174 "The Tomb of the Kings." The Tamarack Review, No. 24 (Summer 1962), pp. 67, 69, 71, 88-90. SP; SDGAH; CP. Translated from the French of Anne Hebert.
B175 "August 1606: Farewell to the Frenchmen Returning from New France to Gallic France." Canadian Literature, No. 28 (Spring 1966), pp. 4751. DIO ("Farewell to the Frenchmen Returning from New France to Gallic France"); CP ("Farewell to the Frenchmen Returning from New France to Gallic France, 25 August 1606"). Translated from the French of Marc Lescarbot.
B176 "Angel." Edge, No. 9 (Summer 1969), p. 24. DIO; CP. Translated from the French of Fernand Ouellette.
B177 "Communion." Edge, No. 9 (Summer 1969), p. 25. DIO; CP. Translated from the French of Fernand Ouellette.
B178 "Knowing." Edge, No. 9 (Summer 1969), p. 23. DIO; CP. Translated from the French of Jacques Brault.
B179 "Rue Saint-Denis." Edge, No. 9 (Summer 1969), pp. 23-24. DIO; CP. Translated from the French of Jacques Brault.
B180 "A Dead Man Asks for a Drink." In The Poetry of French Canada in Translation. Ed. John Glassco. Toronto: Oxford Univ. Press, 1970, p. 110. SHGAH; CP. Translated from the French of Saint-Denys Garneau.
B181 "Hail to Thee." In The Poetry of French Canada in Translation. Ed. John Glassco. Toronto: Oxford Univ. Press, 1970, pp. 146-47. DIO; CP. Translated from the French of Gilles Heneault.
B182 "Inventory." In The Poetry of French Canada in Translation. Ed. John Glassco. Toronto: Oxford Univ. Press, 1970, p. 161. CP. Translated from the French of Pierre Trottler.
B183 "State of Siege." In The Poetry of French Canada in Translation. Ed. John Glassco. Toronto: Oxford Univ. Press, 1970, p. 161. DIO; CP. Translated from the French of Pierre Trottier.
B184 "Towards Dawn." In The Poetry of French Canada in Translation. Ed. John Glassco. Toronto: Oxford Univ. Press, 1970, p. 212. DIO; CP. Translated from the French of Fernand Ouelette.
B185 "Dreary Soft." ellipse, No. 2 (Winter 1970), p. 15. Translated from the French of Roland Giguere.
B186 "Greener Than Nature." ellipse, No. 2 (Winter 1970), p. 21. DIO; CP. Translated from the French of Roland Giguere.
B187 "Landscape Estranged." ellipse, No. 2 (Winter 1970), p. 9. DIO; CP. Translated from the French of Roland Giguere.
B188 "The Philanthropists." The Canadian Forum, April-May 1970, p. III. DIO; CP. Translated from the French of Jean Narrache.
B189 "Blind Season." In Poems of French Canada. Ed. F. R. Scott. Burnaby, B.C.: Blackfish, 1977, p. 33. Translated from the French of Anne Hebert.
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Source: Still, Robert (compiler); . Part 1: Works By F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 206-239 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP1.
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C45 Beattie, Alexander Munro. "The Advent of Modernism in Canadian Poetry in English, 1912-1940." Diss. Columbia 1952. After a brief outline of Scott's response to Smith's article, "Wanted -- Canadian Criticism," Beattie comments upon Scott's role in the development of The McGill Fortnightly Review, The Canadian Mercury, and The Canadian Forum. Although the emphasis in this thesis is on the Montreal Group, there are good commentaries on the aims of the individuals within the group as well as of the group as a whole. Beattie deals with the influence of Eliot on the Montreal poets and praises Scott's burlesques of Eliot's early poems. Also included is a synopsis of Scott's role in the founding of the CCF Party of Canada.
C46 Schultz, Gregory Peter. "The Periodical Poetry of A. J. M. Smith, F.R. Scott, Leo Kennedy, A.M. Klein and Dorothy Livesay, 1925-1950." M.A. Thesis Western Ontario 1957. The emphasis in this study is on the development of six Canadian periodicals -- The McGill Fortnightly Review (1925-27), The Canadian Mercury (1928-29), The McGilliad (1930-31), The Canadian Forum (1930-), New Frontier (1936-37), and Preview (1942-46). The five poets of the title are related to one another primarily in terms of their contributions to these periodicals. Critical emphasis focuses on the metaphysical revival in Canadian poetry between the wars and on the increased use of modern theories of psychology (Freud) and mythology (Frazer). Included are six appendices which reprint difficult-to-locate poems. Also listed are the pseudonyms these poets sometimes used.
C47 DeVreeze, Beatrice. "Bio-Bibliographie de Francis Reginald Scott." Thesis Montreal (L'ecole de Bibliothecaires) 1958. Although there are very few critical comments in this thesis, DeVreeze has collected a good bibliography of works and criticisms. There is also good biographical detail.
C48 Watt, Frank William. "Radicalism in English Canadian Literature since Confederation." Diss. Toronto 1958. Watt examines Scott's social and political literature and its forms.
C49 Roy, G. Ross. "Symbolism in English-Canadian Poetry, 1880-1939." Diss. Montreal 1959. Roy traces the influences of the French Symbolistes on Canadian poetry. A five-page section is devoted to Scott's use of creation and resurrection symbols.
C50 Adelman, Seymour. "Elements of Social Criticism in Canadian Poetry: With Emphasis on the Poetry of F.R. Scott and A.J.M. Smith." M.A. Thesis Montreal 1961. Actually very little emphasis is placed on the poetry of Scott, but a comparative study of the poetry of Scott and A. J. M. Smith is attempted in the last half of the thesis. Some attention is paid to topics or themes, such as "war," "love, .... religion," "politics," and "satire."
C51 Farley, Thomas E. H. "Love and Death in Canadian Poetry." M.A. Thesis Queen's 1963. Farley argues that Scott, like other Canadian poets, uses images of paralysis to convey an essentially negative attitude towards both love and death. Though Scott's political writings illustrate his commitment to future social improvement, his poetry does not affirm hope for the future.
C52 Martin, Jane. "F. R. Scott." M.A. Thesis Carleton 1966. Martin argues that all of Scott's writings are aimed at developing "a humanism which ought and could serve as a foundation for all human activities and experiences: law, politics, social ethics, art." Martin interprets all of Scott's work as one large corpus of writing which illustrates the poet as an intellectual idealist. Though nationalist and internationalist themes recur throughout the writings, everything is secondary to Scott's belief in the dignity of collective as well as individual man.
C53 Djwa, Sandra Ann. "Metaphor, World View and the Continuity of Canadian Poetry: A Study of the Major English Canadian Poets, with a Computer Concordance to Metaphor." Diss. British Columbia 1968. Like A.M. Klein and E.J. Pratt, Scott sees the dominant evils in mankind as pride, self-righteousness, hyprocrisy, and dishonesty. Djwa points out that common to all three of these poets is a recurrent use of "blood" metaphors to record man's evolution. What sets Scott apart from his fellow poets is his social comment and his evocation of a timeless Laurentian landscape. Most of Djwa's analysis concentrates on the poems with a northern setting which she sees as a "prototype of the lost Eden." Djwa traces this view from the poems of Overture to those of Signature and concludes that Scott has created a "new mythology for the North." Her final assessment puts Scott in the position of "one who sees in both religion and science incomplete answers but in the cyclic processes of nature, most often associated with the primal North, the true continuity of life."
C54 Stevens, Peter. "The Development of Canadian Poetry Between the Wars and Its Reflection of Social Awareness." Diss. Saskatchewan 1968. Stevens devotes more attention to Scott's contemporaries than he does to Scott, but he does make several interesting observations about the early influences of Eliot and about Scott's adaptation of other poets' forms to his own personal style and voice. Stevens also points out Scott's interest and ability m using both experimental and traditional forms. The constant throughout all the poems is Scott's belief in the primacy of man's mind and his concerns over the use and misuse of the intellect.
C55 Ringrose, Christopher Xerxes. "Preview: Anatomy of a Group." M.A. Thesis Alberta 1969. Provides a critical literary history of the magazine Preview, and discusses the work of Preview members, including Patrick Anderson, P. K. Page, F.R. Scott, Bruce Ruddick, and Neufville Shaw. The first chapter "explains Preview's relation to modern Canadian poetry of the thirties, through an examination of the career of F. R. Scott."
C56 Campbell, Terrence Maxwell. "The Social and Political Thought of F.R. Scott." M.A. Thesis Queen's 1977. Based primarily on Scott's publications and the private papers of associates in the League for Social Reconstruction, this thesis examines Scott's social and political thought. Campbell attempts to show that Scott's "many and varied interests and activities revolved around the hub of his socialism, with the result that there is a strong sense of unity in Scott's social and political thought."
C57 Moreau, Anne. "La vie politique de F.R. Scott 1930-1939." M.A. Thesis Montreal 1977. Moreau treats Scott as a man whose thoughts exemplify a generation of Canadians engaged in trying to define a "'nouvel ordre social pour le Canada'" and who "contribuerent a etablir un veritable mouvement de gauche Canadien." A wide-ranging study of Scott's political activity in the 1930s.
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C61 Smith, A. J. M. "Verses to Frank Scott, Esq. on the Occasion of His 70th Birthday." McGill News, 50, No. 6 (Nov. 1969), 8. Rpt. (revised --"To Frank Scott, Esq. on the occasion of his seventieth birthday") in The Canadian Forum, April-May 1970, p. 12. Rpt. ("To Frank Scott, Esq., on the Occasion of His Seventieth Birthday") in his The Classic Shade: Selected Poems. Introd. M. L. Rosenthal. Toronto: McClelland and Stewart, 1978, p. 69. Rpt. ["To Frank Scott, Esq. On the Occasion of his Seventieth Birthday (1969)"] in his On Poetry and Poets: Selected Essays of A. J. M. Smith. Introd. A. J. M. Smith. New Canadian Library, No. 143. Toronto: McClelland and Stewart, 1977, p. 101. A poem for Scott.
C62 Layton, Irving. "F. R. Scott." In his The Collected Poems of Irving Layton. Toronto: McClelland and Stewart, 1971, p. 303. A satirical poem about Scott's satire and humour.
C63 Gustafson, Ralph. "F. R. Scott." In his Selected Poems. Toronto: McClelland and Stewart, 1972, pp. 105-06. A humorous poem about Scott.
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[underbar]
C1 Collin, W. E. "Pilgrim of the Absolute." In his The White Savannahs. Toronto: Macmillan, 1936, pp. 177-204. Rpt. Literature of Canada Poetry and Prose m Reprint, No. 15. Toronto: Univ. of Toronto Press, 1975, pp. 177-204. Collin views Scott's lyrics as the poetry of "an intellectual man whose emotional nature is nostalgic for romance which an age of enlightenment has despoiled of mystery and wonder." Scott yearns for "a timeless, pre-intellectual and absolute paradise." Collin bases most of his analysis on "Frost in Autumn" which he regards as the most characteristic of Scott's lyrics. The dominant tone is a "subtle contrast of ephemeral gestures with absolute principles." Collin explains the link between the lyrics and the satires: both are paths on the same pilgrimage "into the spiritual ether of Eden as It was before time's division."
C2 Bell, W. "Profs and Propaganda." Saturday Night, 19 Aug. 1939, p. 10. Bell protests that Scott is too overtly committed to social action for a university professor.
C3 Brown, E. K. On Canadian Poetry. Toronto: Ryerson, 1943, pp. 67, 74. Rpt. 2nd. ed., 1944, pp. 70, 78-79. Rpt. Ottawa: Tecumseh, 1973, pp. 70, 78-79. Though he devotes only one brief paragraph to Scott's poetry, Brown focuses on the poet's warm and angry concern for social injustice and social reform and lauds "Scott's striving for simplicity of form and beauty of design."
C4 Dudek, Louis. "F. R. Scott and the Modern Poets." Northern Review, 4, No. 2 (Dec.-Jan. 1950-51), 4-15. Rpt. in The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. z. Toronto: Ryerson, 1969, pp. 57-71. Rpt. in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, pp. 11-23. Dudek characterizes Scott as typical of Canadian poets who all possess "a clear-sightedness which is both winning in its directness and limited in its scope." Scott, as a young modern poet, is compared first to his father, Frederick George Scott (a contemporary of Lampman and Carman), then to Eliot, Auden, and their contemporaries in England. In the former case, Scott is typical of one generation of writers m revolt against a preceding generation. In the latter case, Scott, though a lesser poet, can be seen as having the same position in the development of Modern poetry in Canada as Eliot and Auden have in England. Dudek criticizes Scott on the grounds that his politics often mar his poetry and his intellect encroaches where his emotions should rule. Nevertheless, Dudek praises Scott's wit and comments that the lyric poet of Overture explores "personal experience and the place of this experience in the frame of human destroy."
C5 Pacey, Desmond. Creative Writing in Canada. Toronto: Ryerson, 1952, pp. 114, 118, 124, 127-29, 131, 144, 198, 200. Rpt. Toronto: Ryerson, 1961, pp. 123, 128, 134, 139, 156, 276, 278. Pacey describes Scott as one of A. J. M. Smith's "chief lieutenants m the Montreal Group." According to Pacey, "wit is the dominant characteristic of Scott's best poetry. He has a keen mind, a gift for clear and forceful expression and a quick eye for absurdity and pretension."
C6 Pacey, Desmond. "Scott, Francis Reginald." Encyclopedia Canadiana, 1957. Brief biographical notice.
C7 Dudek, Louis. "The Montreal Poets." Culture, No. 18 (June 1957), pp. 149-54. Rpt. in The McGill Movement: A.J.M. Smith, F.R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 6-10. Rpt. in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, pp. 59-64. After paying lavish tribute to Montreal as the centre of Modern poetry in Canada, Dudek comments that this poetry is "characteristically satiric" and that Scott is its leading wit.
C8 Pacey, Desmond. "F. R. Scott." In his Ten Canadian Poets: A Group of Biographical and Critical Essays. Toronto: Ryerson, 1958, pp. 223-53. In his biographical study, Pacey labels Scott "the practical promoter, the man of action" in Canadian poetry and outlines his poetic theory as expounded in his two-part article, "New Poems for Old." This essay contains an early assessment of the influence of the Georgian and Imagist schools on Scott's descriptive and love poems. In Scott's lyrics, nature is often used as a setting for love or as a starting point for a discussion on the human condition. "Autumnal," "Laurentian," "Will to Win," and "Caring" are analyzed as the most characteristic lyrics. Pacey also notes Scott's progress from the socialist ideas of Auden and Spender ("Disinherited," "Conflict") towards more humanist concerns ("Paradise Lost," "Eden"). Unlike his lyrics, Scott's satires seem to be indigenous. According to Pacey, these poems are Scott's finest, especially "The Canadian Authors Meet," to which he devotes a six-page analysis. It is in the satires that the literary and social aspects of Scott's life are most complimentary.
C9 Rashley, R. E. Poetry in Canada: The First Three Steps. Toronto: Ryerson, 1958, p. 129. Rashley's praise for Scott's realism is tempered with regret for Scott's "conviction that art is less important than the content of art."
C10 Howe, Constance Beresford. "A Man of Two Worlds." The Montrealer, April 1958, pp. 12-13. Howe believes that Scott's career both as poet and as lawyer and politician is irreconcilable.
C11 Lefolii, Ken. "The Poet Who Outfought Duplessis." Maclean's, 11 April 1959, pp. 16-17, 70-76. Lefolii makes few critical comments in his article as he is more concerned with Scott, the constitutional lawyer, who won the Padlock and Roncarelh cases before the Supreme Court of Canada (January 1959). However, Lefolii does point out that Scott's primary targets for satire are Mackenzie King, R. B. Bennett, and other important figures m Canadian politics. He also quotes Scott's comment on the duality of his career: "The law is crystallized politics. And a good constitution ... is like a good poem. Both are concerned with the spirit of man."
C12 Sylvestre, Guy, Brandon Conron, and Carl F. Klinck, eds. "F. R. Scott (1899-)." In Canadian Writers: A Biographical Dictionary. Toronto: Ryerson, 1964, pp. 126-27. Rpt. in Canadian Writers/ Ecrivains Canadiens: A Biographical Dictionary. 2nd ed. Toronto: Ryerson, 1966, pp. 140-41. Brief biographical and bibliographical notice.
C13 Beattie, Munro. "Poetry 1920-1935." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 732-34. 2nd. ed. Vol. II. 1976, 234-53. Beattie devotes two pages to Scott's place in Canada's literary history. He characterizes the satiric poetry as "the verse of spoken commentary" and asserts that m the satires Scott shows "an increase and diversification of targets," rather than a development an ability. Although special praise is given to "The Canadian Authors Meet," the satiric poetry as a whole is labeled "undergraduate" in its certainty that justice and virtue will triumph. According to Beattie, Scott's best poems are his lyrics, especially the elegies whereto Scott fuses "the emotions of deprivation ... with a sense of a larger loss than the merely personal." Within these parameters, "Last Rites" is (for Beat-tie) the best individual poem, as it most successfully shows Scott's engagement intellectually and emotionally with his theme.
C14 Beattie, Munro. "Poetry 1935-1950." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 753-54. 2nd ed. Vol. II, 1976, 265. New Provinces, "a small anthology organized by F.R. Scott," was "a literary milestone" and "marked a turning point" for Canadian poetry. The anthology "celebrated ... the two main achievements of the new poetry: 'a development of new technique and a widening of poetic interest beyond the narrow range of the late Romantic and early Georgian poets.'" However, Scott's Preface "repudiated the poems it was meant to introduce, and summoned Canadian poets to serious labours."
C15 Dudek, Louis. Introduction. In Trouvailles: Poems from Prose. Montreal: Delta, 1967, pp. 1-13. Dudek defines the found poem as "a piece of realistic literature, in which significance appears inherent in the object -- either as extravagant absurdity or as unexpected worth. It is like driftwood, or pop art, where natural objects and utilitarian objects are seen as the focus of generative form or meaning." Dudek contends that Scott has adhered to this definition as the found poems in this collection are "consistently realistic and fact-oriented."
C16 Story, Norah. "Scott, F.R." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, pp. 750-51. Rpt. (revised) in Supplement to The Oxford Companion to History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 287-88. Story provides background information and discusses Scott's career. The "success of Scott's satirical verse" has "distracted attention" from his belief in man's ability to find wholeness "by the renewal of contact with nature, by love, and through social justice." His poetry reflects a development from "the simple direct language of Overture, through the richer expression of Events and Signals, to the mythopoeic and metaphysical poems of Signature." The revised 1973 version notes Scott's translations in The Dance Is One and The Poetry of French Canada in Translation, which is edited by John Glassco.
C17 Wilson, Milton. "F. R. Scott." In Poets Between the Wars: E.J. Pratt, F.R. Scott, A.J.M. Smith, Dorothy Livesay, A. M. Klein. Ed. Milton Wilson. New Canadian Library Original, No. O5. Toronto: McClelland and Stewart, 1967, pp. 82-83. Biographical information.
C18 Skelton, Robin. "A Poet of the Middle Slopes." Canadian Literature, No. 31 (Winter 1967), pp. 40-45. Rpt. in The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 77-81. Skelton interprets Scott's Selected Poems as a deliberate attempt to show the relationships among the poems written to 1967 by reordering them with no reference to chronology. The net result is the revelation of Scott's "poetic personality" and the relationship between his intellect and his passion. Characteristic of Scott's technique as a poet is his ability to counterpoint neatness of form with disciplined contemplation, rather than emotional excess. Skelton finds both "The Canadian Authors Meet" and "Saturday Sundae" inferior satires as they are clever, rather than vehement. The final summation declares that Scott, though radical, liberal, and sophisticated in his opinions, is essentially a conservative poet.
C19 Smith, A.J.M. "F. R. Scott and Some of His Poems." Canadian Literature, No. 31 (Winter 1967), pp. 25-35. Rpt. in The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Ed. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969 pp. 82-94. Rpt. in Towards a View of Canadian Letters: Selected Critical Essays 1928-1971 By A.J.M. Smith. Vancouver: Univ. of British Columbia Press, 1973, pp. 115-24. Rpt. in Poets and Critics: Essays from Canadian Literature 1966-1974. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1974, pp. 14-25. Smith Identifies Scott as the leader in battles for civil liberty and social justice in Canada --"an idealist in the popular sense of the word." Critical comments m this article focus on the non-satirical poems, especially "Lakeshore," in which the sensuous mind of the poet and the Laurentian landscape unite to evoke both an Immediate, personal experience and an experience with the primordial beginnings of life. Smith points out that Scott's poetry, like his mind, is always expanding so that "most of his poems that start out as an image soon become images, and perceptions soon become comments and blossom into metaphor, analogy and concern Mind comes flooding m." According to Smith, Scott's best satires are, like the lyrics, meditations on the human condition. Everything Scott writes is reformed by "a sense of responsibility and an inescapable sincerity, which is serious but never solemn and rich without ostentation."
C20 Bourmot, A. S. "Satiric Scott." Canadian Author & Bookman, 42 (Spring 1967), 9. Bourmot's brief article contains a brief biographical sketch of Scott and a short assessment of his achievements as a poet. For Bourmot, Scott's clarity of diction is a main characteristic. Though not a great poet, Scott will be remembered for knowing what he writes about and for showing great compassion for humanity.
C21 Jones, D. G. Butterfly on Rock: A Study of Themes and Images m Canadian Literature. Toronto: Univ. of Toronto Press, 1970, p. 22. Jones mentions "Scott's poem 'Lakeshore,' where the speaker becomes a kind of pessimistic Noah watching the modern rationalistic world ... go down before the flood."
C22 Smith, A.J.M. "Scott, F.R." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 968-70. Rpt. ["Scott, F(rancis) R(eginald)"] in Contemporary Poets. 2nd ed. Ed. James Vinson. London: St. James, 1975, pp. 1359-62. 3rd. ed., 1980, pp. 1354-57. Biographical material and a very brief commentary.
C23 Reference Division, MacPherson Library, Univ. of Victoria, Victoria, B.C., comp. "Scott, Francis Reginald* 1899- ." In Creative Canada: A Biographical Dictionary of Twentieth-Century Creative and Performing Artists. Vol. I. Toronto: Univ. of Toronto Press, 1971, 273-74. Bio-bibliographical details.
C24 T[homson]., P[eter]. In British Commonwealth Literature. Vol. I of The Penguin Companion to Literature. Ed. David Daiches. Harmondsworth, Eng.: Penguin, 1971, p. 463. Thomson notes Scott's academic, poetic, and political life and gives special attention to the satirical nature of Scott's work.
C25 New, William H. Articulating West: Essays on Purpose and Form in Modern Canadian Literature. Three Solitudes: Contemporary Literary Criticism in Canada, No. 1. Toronto: new, 1972, pp. 33-34. New compares Scott to E.J. Pratt. Like Pratt, Scott consciously tries "to examine not only the culture that has fostered them ['the group of poets with whom Pratt was associated'] but also the language that allows them to celebrate it." "For Pratt, as for Scott, to mark the movement towards national consciousness ... is to mark a poetic quest for linguistic method ..."
C26 Thomas, Clara. "F. R. Scott." In her Our Nature -- Our Voices: A Guide Book to English-Canadian Literature. Vol. I of Our Nature -- Our Voices. Toronto: new, 1972, pp. 106-09. Thomas labels Scott as the current "unofficial laureate" of Canadian poetry. Though this article is essentially a brief biographical sketch, Thomas points out Scott's fascination with words, his frequent use of water images, and his ability to maintain a balance between discipline and passion.
C27 Scobie, Stephen A. C. "The Road Back to Eden: The Poetry of F.R. Scott." Queen's Quarterly, 79 (Autumn 1971), 314-23. After a brief synopsis of commentaries by Pacey, Skelton, and Smith, Scobie suggests they have all missed the fact that Scott's "serious" poems are "profoundly ambiguous." Through an explication of six poems ("Surfaces," "Eden," "Last Rites," "Saturday Sundae," "Mural," and "Trans Canada"), Scobie concludes that Scott's "clarity is often used to define ambivalence, and this word-play (especially the punning) to embody the contrasting meaning in their most concise forms." Like Collin, Scobie believes that Scott's central theme is the return to an Edenic state.
C28 Gnarowski, Michael. "Scott, Francis Reginald, 1899- ." In his A Concise Bibliography of English-Canadian Literature. Toronto: McClelland and Stewart, 1973, pp. 111-12.. Rev. ed., 1978, pp. 127-29. Bibliographical details.
C29 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, p. 134. Waterston mentions Scott's outspoken political views and notes his use of Canadian scenes in his Imagist poems.
C30 Seymour-Smith, Martin. "Canadian Literature." In Funk & Wagnall's Guide to Modern World Literature. New York: Funk & Wagnall, 1973, pp. 332-33. Rpt. in American, Australian, British, Canadian, South African, New Zealand. Vol. I of Guide to Modern World Literature. London: Hodder and Stoughton, 1975, pp. 361-62. Scott is a "satirist, a love poet and a nature poet -- in that order." His most successful work is his satire. Scott introduced Pound and Eliot to his contemporaries.
C31 Colombo, John Robert. "Scott, F. R. (b. 1899)." In his Colombo's Canadian References. Toronto: Oxford Univ. Press, 1976, p. 475. Brief biographical and critical comments.
C32 Farley, T. E. Exiles and Pioneers: Two Visions of Canada's Future 1825-1975. Ottawa: Borealis, 1976, pp. 107, 109, 113, 154. Passing references to Scott.
C33 Gnarowski, Michael. Introduction. In New Provinces: Poems of Several Authors. Ed. F.R. Scott, A. J. M. Smith, et al. Literature of Canada: Poetry and Prose in Reprint, No. 20. Toronto: Univ. of Toronto Press, 1976, pp. [vii]-xxiii. The original section of the anthology is reprinted from New Provinces (Toronto: Macmillan, 1936). Gnarowski quotes from valuable correspondence between the authors/editors (especially between Smith and Scott) and with the publisher relating to the compilation and publication of the original anthology and explaining the continuous delay in publication. The text of "A Rejected Preface" is reprinted from Towards a View of Canadian Letters (Vancouver: Univ. of British Columbia Press, 1973), pages 170-73. New Provinces is an "entirely unpretentious anthology" and "was a singular event in a literary process which stemmed from the origins of Canadian modernism and its beginnings in Montreal .... A. J. M. Smith was the recognized leader. Smith possessed a precocious sensibility and a sharp sense of critical awareness as far as contemporary poetry on the world scene was concerned." He initiated the McGill Daily Literary Supplement and the McGill Fortnightly Review. In these periodicals, "... Smith got properly started on a long career of articles, prefaces, and critical commentary ...." Smith's reaction against "the set and insipid ways of traditional verse" is set in a larger context of other contemporary writers who were "edging towards new writing and new Ideas in criticism." "The cryptic yet tentative tone of F. R. Scott's preface to New Provinces, and the confident, politically assertive tenor of Smith m his own rejected preface to the same collection are evidence of the range of debate and the fulness of the social dilemma." The letters show that, even among these new writers, there was much disagreement. Gnarowski summarizes the "short shrift" with which New Provinces was generally received, when finally published, although E. K. Brown did note that the anthology was "one of 'three extremely important services [which had] been rendered to Canadian poetry' during 1936." Gnarowski concludes with a lament that recognition "has been, generally speaking, a belated and distant doffing of critical hats .... [It] is all the more ironic, then, that it has taken us forty years to see this new edition of it into print."
C34 Pacey, Desmond. "The Course of Canadian Criticism." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Vol. III. Toronto: Univ. of Toronto Press, 1976, 20-21 Scott was one of the group of poets who "took the view that true nationalism was better fostered by critical examination of weaknesses and deficiencies than by uncritical adulation .... [T]hey wanted to modify romanticism by a strong infusion of irony or to discipline it by the application of such so-called 'classical' virtues as economy, wit, order, and control." "The new spirit of sophisticated scepticism had found early expression in [Scott's] articles ... in the Canadian Forum in the late twenties" and in his Preface to New Provinces.
C35 Woodcock, George. "Poetry." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Vol. III. Toronto: Univ. of Toronto Press, 1976, 307. "Scott's progression has been from the social towards the personal, and onto the verges of the metaphysical, but without ever losing the balanced rationality that has always characterized his writing." In addition, Scott has done travel poems, a number of translations from French, and one volume of found poetry.
C36 Mathews, Robin. Canadian Literature: Surrender or Revolution. By Robin Matthews. Ed. Gail Dexter. Toronto: Steel Raft, 1978, p. 151. After noting Scott's association with the CCF, Mathews praises him for his "brilliant social satire, conscious of class and of class exploitation." Mathews laments that, while Scott was an renovator in his poetry, he has "made no major criticism of any of the developments since the forties that have been ideologically offensive to his position." Finally, he attacks Scott for not having fought U.S. imperialism in Canada and for accepting awards from the "well-mannered liberal capitalist democracy."
C37 Stevens, Peter. "Scott, Francis Reginald (1899-)." In his Modern English-Canadian Poetry: A Guide to Information Sources. Detroit: Gale, 1978, pp. 93-95. Contains a brief critical and biographical introduction, and lists primary and secondary works.
C38 Brewster, Elizabeth. "The I of the Observer: The Poetry of F. R. Scott." Canadian Literature, No. 79 (Winter 1978), pp. 23-30. Brewster argues that "Scott's T is greatly concerned with his 'eye,' with the way he sees things, whether physically or mentally with his 'vision.' His vision may be microcosmic or macrocosmic, but he especially enjoys a broad view, a view of suns, stars, space, unknown frontiers, 'boundless uplands,' and 'the wide, the shining country.'" Brewster attempts to apply this idea in an analysis of several of Scott's poems spanning the range of his career.
C39 Higginson, M. Constance. "A Thematic Study of F. R. Scott's Evolutionary Poetry." Journal of Canadian Poetry, 1, No. 1 (Winter 1978), 37-48. Higginson argues that "Scott's evolutionary poetry, when studied as a thematic whole, replaces the anthropomorphic myths with a new philosophy that is rooted in a post-Darwinian perspective ...." Scott's evolutionary poetry exhibits "two clear and interrelated philosophies." One concerns "a poetic awareness of the dialectic of time"; the other concerns "man as a species, his interaction and his relationship with the environment." Higginson attempts to show how these philosophies operate in "My Amoeba Is Unaware," "Japanese Sand Gardens," "Mount Royal," and "Autumn Lake I."
C40 Marshall, Tom. "The Modernists." In his Harsh and Lovely Land: The Major Canadian Poets and the Making of a Canadian Tradition. Vancouver: Univ. of British Columbia Press, 1979, pp. 43-48. Marshall describes Scott as one of "The Modernists" who "gave assent to [A.J.M.] Smith's dictum that Canadian poets ought to pay more attention to their position in time, less to their position m space." In discussing several of the poets who aligned themselves with Modernism, Marshall compares Scott with Smith, and then goes on to suggest that Scott is "usually [Smith's] necessary complement; a poetic realist concerned with social problems and with the development of Canada." Marshall feels that Scott's "most memorable" and "most enduring poems are those in which his social and his natural observations are fused to present ... a vision of Canada that attempts to define man's place in a vast and continuously evolving universe." To support his interpretation, Marshall provides a close reading of "Lakeshore," maintaining that it "is spare and elegant m the best 'modernist' way" but that it is also "complex and ambivalent (in the 'Canadian' way) about the possible meaning of man's successive passages from world to world." Scott's "Laurentian Shield" also receives some close analysis. Marshall concludes that "Scott is generally a liberal optimist ... despite his sense of what is wrong both with man and with Canadian society."
C41 Bentley, D. M. R., and Michael Gnarowski. "Three Documents from F.R. Scott's Personal Papers." Canadian Poetry: Studies, Documents, Reviews, No. 4 (Spring-Summer 1979), pp. 73-119. Bentley and Gnarowski provide introductory critical and historical notes to three previously unpublished Scott documents: "Modern Poetry" (B415), "F. R. Scott: Discussing Oxford Study Group on Christianity and Industrial Problems" (B384), and "Four of the Former Preview Editors: A Discussion" (B458). In this special issue "dedicated to Frank Scott on the occasion of his eightieth birthday," the editors pay tribute to "F. R. Scott's place in the history of Canadian poetry, politics, and law," and try to illuminate "three facets of this many-faceted man" by presenting the three essays.
C42 Djwa, Sandra. "F. R. Scott." Canadian Poetry: Studies, Documents, Reviews, No. 4 (SpringSummer 1979), pp. 1-16. Djwa suggests that, as "poet, lawyer, and social philosopher," Scott writes from a deep commitment to socialism and humanism. Scott's poetic reflects "a belief In the order of the universe as opposed to human order, and a reaching out to frontiers of life and knowledge." His humanistic faith "emerged when the Anglicanism of Scott's childhood training united with the radical Christian socialism of the 'twenties." Djwa shows how this socialistic and humanistic philosophy inspires Scott's themes and techniques, and how it leads him to examine "characteristic metaphors [which] develop from the exploration of man's relationship to nature and society": "they involve time and infinity, world and universe, love and spirit, terms that emerge as twentieth-century humanist substitutes for the Christian vocabulary." Djwa concludes that "As a poet, as a lawyer and as a social philosopher, F. R. Scott is a towering figure in Canadian intellectual history -- one of the very few in Canada's first century who can be justly called a great Canadian."
C43 Djwa, Sandra. "F. R. Scott: A Canadian in the Twenties." Papers of the Bibliographical Society of Canada, 19 (1980), pp. 11-21. Djwa discusses the difficulty of writing about the young F. R. Scott today: "Where, in any man of eighty, can we expect to find the young man of twenty?" By using Scott's diaries, however, Djwa tries to find that man. His diaries of 1920-28 were "dominated by the question of vocation .... Scott recognized, even m his twenties, that his life could be a significant one .... [A]fter his three years in Europe, Canada was a great disappointment .... [H]e recorded his personal dismay at the lack of beauty in Canadian life." Because politics and public service attracted him, he enrolled at McGill's law school. McGill, too, was glum but for the relief found in "The Group," a discussion group formed to consider Canadian problems. The Group discussed cultural improvement and social reform, seeing "the link between art and national identity." At McGill, Scott became a founding member of the McGill Fortnightly Review, which became an outlet for his social criticism. In the years 1926-28 "Scott was to change from a Georgian poet to a modern poet," a change for which A. J. M. Smith was the catalyst. Scott argued that Modernism was not merely a change of attitude towards war but a revolution in sensibility. "[L]ike most Modernists, Scott underestimated the strength of the Romantic movement." Civil scandals violated his "sense of social justice." He realized that "mere protest was not enough: direct political action would have to be taken if society was to be improved."
C44 Warkentin, Germaine. "Scott's 'Lakeshore' and Its Tradition." Canadian Literature, No. 87 (Winter 1980), pp. 42-51. Warkentin claims that "Scott's control of image, prosody, and diction" in "Lakeshore" approaches perfection while leading us to "a discovery of the ... ultimate reality of the experience of primal being." She explores the meaning of the poem as an original literary work and as an articulation of "a solution to the problem of man in nature which has been tested out by other Canadian poets." Influenced by Wordsworth's "Tintern Abbey" and Sir Charles G. D. Roberts" "Tantramar Revisited," "Lakeshore" generates vision; its originality lies in "the speech in which that vision can be uttered." Just as m Wordsworth and Roberts, in "Lakeshore" Scott "gazes upon nature." Warkentin cites Scott's vision as "one of hopeless disillusion at the consequences of the emergence of primal man into historic time .... Tied to the horizontal plane of earth, we are in fact without dimension, for earth has become both floor and ceiling of our souls .... [T]he poet and the world out of which he gazes are unilingual ...; they lack words and images for experiences other than their own."
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Part 2 Works On F.R. Scott; Articles and sections of books, theses and dissertations, interviews, miscellaneous, and awards and honours; Awards and honours
Still, Robert (compiler)
C64 Rhodes Scholarship (1920).
C65 Guggenheim Fellowship (1940).
C66 Guarantor's Prize, Poetry [Chicago] for "Five Poems" ["Examiner" (B66), "For R. A. S.: 1925-1943" (B67), "Resurrection" (B71), "Villanelle for Our Time" (B73), and "War News" (B76)] (1944).
C67 Royal Society of Canada (1947).
C68 Poetry Award, Northern Review (1951).
C69 Banff Springs Arts Festival Medal for Letters (1958).
C70 University of Alberta, National Award in Letters (1958).
C71 Canada Council Special Services Award (1960).
C72 Lorne Pierce Medal, The Royal Society of Canada (1962).
C73 Quebec Government Literature Prize (1964).
C74 Molson Award, Canada Council (1965).
C75 Companion of the Order of Canada (1967).
C76 Honorary Foreign Member, American Academy of Arts and Science (1967).
C77 Quebec Government Literature Prize (1967).
C78 Governor-General's Award for Non-Fiction for Essays on the Constitution: Aspects of Canadian Federalism (A42) (1977).
C79 Canada Council Translation Award for Poems of French Canada (A49) (1977).
C80 Governor-General's Award for Poetry for The Collected Poems of F. R. Scott (A8) (1981).
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Source: Still, Robert (compiler); . Part 2: Works On F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 239-263 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP2.
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- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
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Source: Part 2: Works On F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 239-263
Part 2 Works On F.R. Scott; Articles and sections of books, theses and dissertations, interviews, miscellaneous, and awards and honours; Interviews
Still, Robert (compiler)
C58 Tovell, Vincent. "The World for a Country: An Edited Interview with Frank Scott." Canadian Poetry: Studies, Documents, Reviews, No. 2 (Spring-Summer 1978), pp. 51-73. This interview, conducted in 1971, focuses on how Scott deals with social and political issues through his writing.
C59 M[oore]., K[athleen]. C. "'... It Is the Heart That Sees': An Interview with F.R. Scott." Athanor [Concordia Univ.], 1, No. 2 (Feb. 1980), 5-10. Scott assesses his role in the development of Modernism in Canada. He comments on the influence of Imagist poetry on his early work, and pays credit to A. J. M. Smith, whom he sees as the first and most important commentator on Modernism in Canada. He also discusses his work as a translator, the biography being written by Sandra Djwa, and the Collected Poems, which, at the time that the interview was done, is soon to appear.
C60 Wayne, Joyce, and Stuart MacKinnon. "Q&Q Interview. F. R. Scott: 'Everything in my life that I did was done with a feeling of making poetry.'" Quill & Quire, July 1982, pp. 12, 16, 18. The introduction by Joyce Wayne and Stuart MacKinnon outlines Scott's political and literary biography. Scott discusses his necessity for combining political and literary activities. "Smith enlarged my experience of poetry and opened up the modern world for me. I wouldn't have called myself a socialist then, but when I read Eliot's The Waste Land and wrestled with its meaning, it was a revelation of the world I was actually living in. Poets get first to the Important things." Other poets who influenced Scott were Gerard Manley Hopkins, Emily Dickenson, the early Eliot, Frost, and William Carlos Williams. Wilfred Owen's "half rhyme and assonance .... freed me because up to that point I was tied to perfect rhyme." New Provinces took so long to publish because of disagreements and the geographical separation of the contributors. Although Scott thought Smith's Preface was "fine," "Pratt was shocked by it." Scott discusses his turn towards social realism and satire during the Depression. Discussing reviews that draw a "harsh response" to his work and that praise "'nice'" poems, Scott says, "The state of literary criticism in this country is deplorable. Everyone is taking in the other's washing." Scott was "straddling two camps." "I wasn't born financially upper class, but with certain traditions of the upper class." Scott discusses his continuation of his father's "high Anglican" tradition of "moderate" reform that is responsible to the working class. The CCF was not "considered dangerous" until 1943 when it became popular, at which point, the "smear campaign" changed his image "from that of a harmless professor to that of a dangerous radical, probably a Communist," which delayed his appointment as Dean of Law at McGill. Scott discusses the founding of the League for Socialist Reform, his ideological reasons for not running for public office, and his disagreement with the clause which allows "a province to opt out" in The Charter of Rights. The Parti Quebecois' "position of independence is reactionary" and "immoral." "Only a strong federal state can stand up to these gigantic corporations ..." saying "this is our place, these are our resources."
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Record: 84- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; Canada after the War: Studies in Political, Social, and Economic Policies for Post-War Canada
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Part 2 Works On F.R. Scott; Selected book reviews; Canada after the War: Studies in Political, Social, and Economic Policies for Post-War Canada
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D48 "Post-War Canada." Canadian Business, 17, No. 3 After considering Scott's chapter on the constitution, the reviewer notes that it is "more objective than socialistic" and expresses relief that this attitude is maintained throughout the collection. While the contributors are described as "generally well informed," their material often lacks "realism." The review concludes by observing that even though business "takes a beating," the book will be a useful planning guide.
D49 H., D. C. Rev. of Canada after the War: Studies in Political, Social, and Economic Policies for PostWar Canada. The Dalhousie Review, 24 (April 1944), 113. The reviewer sees this collection as providing a basis for discussion of present and post-war problems. He feels that Keirstead's essay on "National Policy" sets the tone for the collection as it presents a convincing reply to those who "discourage thinking about 'after-the-war' until victory is won, and to those who are content with the facile promises of unpractical dreamers."
D50 MacGibbon, D. A. Rev. of Canada after the War: Studies in Political, Social, and Economic Policies for Post-War Canada. The Canadian Journal of Economics and Political Science, 10 (May 1944), 238-39. After noting that the book is a collection of individual views, MacGibbon briefly describes each essay, noting that Scott favours a rewriting of the Canadian constitution. He finds the collection somewhat incomplete in its scope and excepting the essays of Scott and Professor Parkinson, he finds the material is not of particularly high standard.
D51 Easterbrook, W. T. Rev. of Canada after the War: Studies in Political, Social, and Economic Policies for Post-War Canada. The Canadian Historical Review, 25, No. 2 (June 1944), 211-14. The collection succeeds m providing several useful grades to policy over a broad range of post-war problems. Easterbrook discusses each essay individually, summarizing their central issues and concerns. He points out that Scott's essay, "The Constitution and the Post-War World," warns that our system of control depends upon emergency statutes and that post-war Canada will require solutions to constitutional difficulties, such as the amendment of the constitution.
D52 M., C. Rev. of Canada after the War: Studies in Political, Social, and Economic Policies for PostWar Canada, ed. Alexander Brady and F. R. Scott; and Canadian Restoration, by E. Newton-White. The Canadian Forum, June 1944, p. 65. The reviewer notes that while the book lacks homogeneity, it is "constructive and stimulating." He follows by briefly summarizing each essay, observing that Scott is concerned with the problems in Canada's constitution.
D53 Poulin, G. "Livres Canadiens." Culture, 5 (sept. 1944), 337-38. "Canada after the War est ecrit avec la collaboration de dix specialistes des choses canadiennes qui expriment chacun ses vues personnelles sur des sujets tres particuliers. C'est donc une etude plutot condensee et qui tire son unite bien moins de l'harmonie des idles que de l'ensemble des themes en fonction de la situation canadienne." "L'interat d'un tel livre consiste a livrer au lecteur des vues assez suggestives de la periode d'apres-guerre mais surtout a lui indiquer quelques problemes qui alimenteront la politique nationale et internationale. Nous ne saurions trop louer la valeur objective et le caractere universitaire de l'ensemble des travaux comme aussi la magnifique tenue du volume et sa bonne apparence."
D54 P., E. P. Rev. of Canada after the War: Studies in Political, Social, and Economic Policies for Post-War Canada. Canadian Geographical Journal, 30, No. 1 (Jan. 1945), 10. The reviewer calls attention to the variety of subjects, perspectives, and tones of these essays, noting that the authors have attempted to discuss each subject objectively. While he finds all of the essays excellent, he was particularly impressed with those by Scott and F. H. Soward.
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Record: 85- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; Canada To-Day: A Study of Her National Interests and National Policy
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
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Part 2 Works On F.R. Scott; Selected book reviews; Canada To-Day: A Study of Her National Interests and National Policy
Still, Robert (compiler)
D36 Reiners, Max. "Canada's Problems." The Canadian Forum, Sept. 1938, p. 186. Reiners praises Scott's conciseness and lucidity, noting the broad scope of his subject and the brevity of this book. He finds it an excellent study guide for those interested in current economic, political, and social issues.
D37 Underhill, Frank. "Studies in Canadian Disunity." Rev. of Canada Looks Abroad, by R.A. MacKay and E. B. Rogers; and Canada To-Day: A Study of Her National Interests and National Policy, by F.R. Scott. University of Toronto Quarterly, 8 (Oct. 1938), 118-22. Underhill begins by suggesting that the main reason for Canada's feeling of inferiority towards the United States lies in the fact that Canadian disunity has prevented the creation of a document similar to the Declaration of Independence. He laments the editorial revisions of Scott's book, which have obscured many of its arguments. Although he praises this "admirable" book, he finds it inadequate in its consideration of world developments, particularly the "challenge to democracy" occurring in Spain and Czechoslovakia.
D38 Kemp, H. R. Rev. of Canada To-Day: A Study of Her National Interests and National Policy. The Canadian Historical Review, 19 (Dec. 1938), 433-34. Kemp summarizes the contents of the book, mentioning in particular the chapter on constitutional problems. He feels the book is a useful introduction to current economic and political issues and notes that Scott does not present an optimistic picture.
D39 P., A. E. Rev. of Canada To-Day: A Study of Her National Interests and National Policy. Queen's Quarterly, 46 (Spring 1939), [sic; Summer 1939] 257-58. In this generally positive review, the changes between the first and second editions of Scott's book are recorded and assessed. New material is praised for its topicality and the omission of certain essays is welcomed, since the reviewer objected to the "bins of anti-Imperialism" in these original pieces.
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- Part 2 Works On F.R. Scott; Selected book reviews; Civil Liberties and Canadian Federalism
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- Still, Robert (compiler)
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- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
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- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
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Source: Part 2: Works On F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 239-263
Part 2 Works On F.R. Scott; Selected book reviews; Civil Liberties and Canadian Federalism
Still, Robert (compiler)
D42 Blum, Sid. Rev. of Civil Liberties and Federalism. Food for Thought, 20 (Dec. 1959), 133-35. Blum outlines the contents of the book, focusing upon Scott's discussion of the problems of bilingualism and human rights, and his analysis of the proposed Bill of Rights. He commends Scott not only for his expertise, but also for his ability to communicate his knowledge to others in an interesting manner.
D43 I., J. A. "New Light on Liberty." Saturday Night, 10 Dec. 1960, p. 60. In this highly positive review, Scott is praised for his scholarship and humanitarianism. The reviewer notes Scott's detailed analysis of legislation and observes that he offers a contrasting perspective to Diefenbaker's concept of civil liberties.
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- Part 2 Works On F.R. Scott; Selected book reviews; Essays on the Constitution: Aspects of Canadian Laws and Politics
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- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
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Part 2 Works On F.R. Scott; Selected book reviews; Essays on the Constitution: Aspects of Canadian Laws and Politics
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D44 Smith, Denis. "A Lawyer to Be Spared." Books in Canada, June-July 1978, p. 24. In this positive review, Smith praises Scott's clear and astringent style, noting that "behind the spare language of reason lies a restrained but passionate set of moral convictions." He observes that many of the essays were prophetic, although Scott's goals of social harmony and economic redistribution have yet to be achieved. While he finds the book to be the "measure of a great man," Smith admits that Scott's legalism and centralism have become less appropriate positions for contemporary Canada.
D45 Smiley, Donald. "Constitutional Lessons." The Canadian Forum, Oct.-Nov. 1978, pp. 44-45. Smiley reacts very enthusiastically to this collection. After briefly summarizing its contents, noting in particular Scott's views on federal spending power, he compares the book favourably with other recent works on the same subject.
D46 MacGuigan, Mark. Rev. of Essays on the Constitution: Aspects of Canadian Law and Politics. The Canadian Historical Review, 60, No. 1 (March 1979), 110-12. MacGuigan laments that there is nothing new in this collection, but points out that its "sustained excellence" re-inforces Scott's standing in the field of legal thinking and writing. After discussing "The Special Nature of Canadian Federalism," he mentions Scott's "civil libertarian" concerns and his support of bilingualism. MacGuigan also notes Scott's active Involvement in political and social issues, and draws attention to his powers of satire and eloquence.
D47 Weir, Lorraine. "Radical Order." Canadian Literature, No. 81 (Summer 1979), pp. 114-16. Weir comments upon Scott's lifelong determination to "speak clearly and precisely of complex and, at times, arcane issues." In discussing the essays dealing with human rights, she compares his poetic and political perspective to that of George Orwell. She later notes that Scott's articles on bilingualism stress the need for "realism and goodwill." The review concludes by describing the book as "the summing up of a lifetime's dedication to radical order" and praises Scott for his persistent "courage and eloquence."
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- Part 2 Works On F.R. Scott; Selected book reviews; Events and Signals
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- Part 2 Works On F.R. Scott; Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
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- Bibliography
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- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
Titles critiqued: EVENTS and signals (Book)
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Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
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Part 2 Works On F.R. Scott; Selected book reviews; Events and Signals
Still, Robert (compiler)
D5 Pacey, Desmond. Rev. of Events and Signals. The Canadian Forum, Dec. 1954, pp. 212-13. Pacey, adopting a stance that clearly favours Scott's satires over his lyrics, declares that Events and Signals possesses all the virtues of Overture and illustrates a broadening of scope and a deepening of thought as Scott's philosophy moves gradually away from doctrinaire socialism towards a more humanist attitude. Pacey believes that Scott's almost unflagging optimism is based on a view that "the universe itself is potentially great" and a return to Eden is always possible. Special praise is given to "Lakeshore" and "Laurentian Shield" in which Scott uses landscape as "the starting point for a profound commentary on life." The elegies are judged inferior work and some of the witty poems, notably "Lesson," are labeled "pointless wordplay."
D6 Reaney, James. Rev. of Events and Signals. Queen's Quarterly, 61 (Winter 1954-55), 554-55. Reaney praises Scott as being "capable of interpreting any theme," but finds the social poems superficial when measured against the deeper meanings found in the lyrics. Reaney interprets this book as a reflection on life in a large, cosmopolitan city (Montreal) where both poetry (the lyrics) and prose (the social and political poems) are found. For Reaney, the satiric poetry has no value as poetry.
D7 B[evan]., Allan]. R. Rev. of Events and Signals, by F. R. Scott; and The Metal and the Flower, by P. K. Page. The Dalhousie Review, 35 (Spring 1955), 94, 96. Although this reviewer takes the usual route of praising Scott's satires, he notes that "many of his best poems are lyrics developing from an apparently simple object ... into a perceptive delving into the mysterious forces that he behind man's thoughts and actions." Scott's translations increase the variety and scope of this book.
D8 Berryman, John. Rev. of Events and Signals. Poetry [Chicago], 88 (April 1956), 57. Berryman deplores most of the book though he does find that "Last Rites" and "the poem about the Cenci" show minimal poetic ability. The review is a total condemnation of Scott's work -- "his imagery is mechanical, his diction inexact, his many satirical poems forceless."
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Source: Still, Robert (compiler); . Part 2: Works On F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 239-263 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP2.
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Record: 89- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; Make This 'Your' Canada: A Review of C.C.F. History and Policy
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- Part 2 Works On F.R. Scott; Selected book reviews
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- Author(s):
- Still, Robert (compiler)
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- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
Titles critiqued: MAKE this 'your' Canada: A review of c.c.f. history and policy (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04FSP2
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Source: Part 2: Works On F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 239-263
Part 2 Works On F.R. Scott; Selected book reviews; Make This 'Your' Canada: A Review of C.C.F. History and Policy
Still, Robert (compiler)
D40 M., C. Rev. of Make This 'Your' Canada: A Review of C.C.F. History and Policy. The Canadian Forum, Dec. 1943, pp. 214-15. The reviewer suggests that this book should quiet accusations that the CCF's proposals lack definiteness and that their goal is a dictatorship. He notes that a strong commitment to democracy is one of the key statements of the book. He focuses on Chapter x, which describes the first stages of reorganization that would take place after the CCF was elected, and praises the authors on their detailed discussion.
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Source: Still, Robert (compiler); . Part 2: Works On F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 239-263 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP2.
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Record: 90- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; Overture: Poems
- Other Title:
- Part 2 Works On F.R. Scott; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
Titles critiqued: OVERTURE: Poems (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Source: Part 2: Works On F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 239-263
Part 2 Works On F.R. Scott; Selected book reviews; Overture: Poems
Still, Robert (compiler)
D1 Burns, Martin. Rev. of Overture: Poems. The Dalhousie Review, 25 (Summer 1945), 262. Burns focuses on the poems which show Scott's concern for social reform and his leanings toward the socialism of the CCF Party. Burns calls the book "a challenge to our complacency and spiritual blindness." He ignores the non-satiric poetry.
D2 Mackay, L. A. Rev. of Overture: Poems. The Canadtan Forum, July 1945, p. 97. Mackay praises the detached intelligence which pervades the poetry m this book. "Even where the poet takes sides, he gives the impression not of partisan or passionate enthusiasm, but of a deliberate judgement reached after reflection on the evidence." Mackay finds Scott a fine satirist and first-rate ironist who employs a speaking rather than a staging voice and writes more for the ear than for the eye. Scott's "fine sense of common humanity" and "strong sense of duty" pervade the book. Like other early critics and reviewers, Mackay tends to focus on the satires and ignore the lyrics.
D3 Rev. of Overture: Poems. Canadian Poetry Magazine, 9 (Sept. 1945), 33-35. This review attacks Scott's politics rather than reviewing his poetry. It suggests that the title of the book is, in reality, Overture to Revolution. The satiric poems are denounced as socialist propaganda, rather than inferior poetry. "Its feverish partisanship .., tends to defeat its own angry ends as well as its poetic integrity." For this reviewer, the only poems worth preserving are the lyrics, though no reason is given for their preservation.
D4 Brown, E. K. Rev. of Overture: Poems. In "Letters in Canada: 1945 -- Poetry." University of Toronto Quarterly, 15 (April 1946), 269-72. Brown states that Overture Is an impressive book that "can be read at length with unwearied technical pleasure, with intellectual satisfaction, and with unresting political excitement." This book is the expression of a man closely attuned to all life around him. Brown singles out "To Certain Friends" as a characteristic poem in its movement from surface lightness to deep anger. Though he praises Scott for his clear, concise diction in both the satires and the lyrics, Brown also points out that some of the poems have seriously flawed endings.
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Source: Still, Robert (compiler); . Part 2: Works On F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 239-263 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP2.
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Record: 91- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; Quebec States Her Case: Speeches and Articles from Quebec in the Years of Unrest
- Other Title:
- Part 2 Works On F.R. Scott; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
Titles critiqued: QUEBEC states her case: Speeches and articles from Quebec in the years of unrest (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04FSP2
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Source: Part 2: Works On F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 239-263
Part 2 Works On F.R. Scott; Selected book reviews; Quebec States Her Case: Speeches and Articles from Quebec in the Years of Unrest
Still, Robert (compiler)
D64 Pilon, Jean-Guy. "Trois Ouvrages sur le Quebec." Canadian Literature, No. 27 (Winter 1966), p. 61. Scott et Oliver ont choisi "les signatures les plus diverses, dans les journaux et revues du Quebec" et la "traduction en anglais a ete faite par une equipe de specialistes." Ces "articles et discours ont ete choisi a cause de leur clarte, parce qu'ils s'enchainaient bien les uns aux autres et eprimaient ainsi plusieurs aspects, complementaires si on veut, d'une pensee qui n'est pas toujours facile a saisir dans sa globalite; ils on aussi ete groupes dans cet ordre parce qu'ds portent sur une periode bien precise ... 'the years of unrest'" au Quebec.
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Source: Still, Robert (compiler); . Part 2: Works On F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 239-263 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP2.
Item Number: ABCMA04FSP2000004003004016
Record: 92- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; Selected poems
- Other Title:
- Part 2 Works On F.R. Scott; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
Titles critiqued: SELECTED poems (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04FSP2
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Source: Part 2: Works On F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 239-263
Part 2 Works On F.R. Scott; Selected book reviews; Selected poems
Still, Robert (compiler)
D18 Pearson, Alan. Rev. of Selected Poems. The Montrealer, Aug. 1966, pp. 37-38. Pearson mistakenly refers to this volume as the Collected Poems. He states that the lyrics are superior to the satires even though popular opinion regards the satires as the best works. Scott's problem, according to Pearson, is showing "more intelligence than Imagination" in his poetry. Scott's willed controlling of his imagination suggests a reluctance to reveal his true feelings.
D19 Marshall, T. A. Rev. of Selected Poems. Queen's Quarterly, 73 (Winter 1966), 608-09. According to Marshall, Scott's mare problem as a poet is he tells, rather than dramatizes, his beliefs. Marshall sees Scott's purpose in the lyrics and the satires as contrasting "the austere and elemental beauty of the landscape with the frequent stupidity and injustice of the human society that exploits it."
D20 Bell, Marvin. Rev. of Selected Poems. Poetry [Chicago], III (Feb. 1968), 323-24. Bell believes that Scott possesses the most "distinctive Canadian poetic voice" even though he does not attempt to write specifically "Canadian" poems. This tribute to Scott praises "his sense of place and time, of social error and justice, of his own portion of responsibility for what is good and what is not, and of the enormity of impending change." Bell believes that these qualities undercut much of the didacticism of the poems and make Scott a first-rate satirist.
D21 Duncan, Chester. Rev. of Selected Poems. Canadian Dimension, 5 (April-May 1968), 39-40. Duncan maintains that Scott is "an interesting, readable, and mostly very polished" minor poet who makes no special demands on his readers. Though he praises sections of some of the lyrics, especially "Autumnal," Duncan condemns the satires as dated journalism which have no literary value. Duncan does, however, like some of the shorter satires as they show Scott's "succinct perception." In contrast with his view of Scott's own poems, Duncan has nothing but praise for the translations.
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Source: Still, Robert (compiler); . Part 2: Works On F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 239-263 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP2.
Item Number: ABCMA04FSP2000004003004005
Record: 93- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; Signature
- Other Title:
- Part 2 Works On F.R. Scott; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
Titles critiqued: SIGNATURE (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Source: Part 2: Works On F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 239-263
Part 2 Works On F.R. Scott; Selected book reviews; Signature
Still, Robert (compiler)
D13 Daniells, Roy. Rev. of Signature. Queen's Quarterly, 71 (Autumn 1964), 447-48. Daniells adopts the standard position on Scott's technical accomplishments in diction and imagery, his "naive romanticism" (in "Polynesian"), and his "unflavoured idealism" (in "Creed"). For Daniells, the intensity of the poetry matters most.
D14 Marshall, Tom. "In Montreal." Rev. of Signature, by F. R. Scott; and That Monocycle the Moon, by Seymour Mayne. Alphabet, No. 9 (Nov. 1964), pp. 73-74. Marshall notes that Scott has "always been somewhat reclined to verbal jugglery" and criticizes the strained construction and triteness of poems like "Dew Lines." In "The Bartail Cock," "A Lass in Wonderland," and "Degeneration," however, Marshall finds the same techniques entirely successful. While some of the poems of social comment are a "little crude," Marshall praises the expression of the "emotional centre of a significant or timeless moment" in Scott's "genuine" poems.
D15 Sowton, Ian. Rev. of Signature. The Canadtan Forum, March 1965, p. 282. Although he praises Signature as an excellent collection, Sowton finds the individual poems, especially the satires, weak. He explains that "the object of a satiric blast must be either obliterated or transfigured." Because Sowton believes that Scott does not accomplish this in his satires, they are, for him, inferior works. The achievement of this review is its interpretation of Signature as a whole that is greater than the sum of its parts. Sowton explains the central paradox of the lyrics in which "the single sensibility grows into a multiple sensibility and becomes more human, more singular in the process." This is one of the few assessments of Scott's individual books that regards his work as a deliberately ordered unit.
D16 Wilson, Milton. Rev. of Signature. In "Letters in Canada: 1964. Poetry." University of Toronto Quarterly, 34 (July 1965), 358-59. Wilson finds these occasional poems inferior to Scott's earlier work (especially Overture and Events and Signals), but they do illustrate Scott as "a workman responsible to his materials and tools and concerned to make the best of them within given conditions."
D17 Marshall, Joyce. Rev. of Signature. The Montrealer, Oct. 1965, pp. 40-41. Marshall dismisses the satires as "disastrously unfunny" and comments that Scott is obviously more at ease "with unpopulated nature."
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Source: Still, Robert (compiler); . Part 2: Works On F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 239-263 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP2.
Item Number: ABCMA04FSP2000004003004004
Record: 94- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; St.-Denys Garneau and Anne Hebert
- Other Title:
- Part 2 Works On F.R. Scott; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
Titles critiqued: ST.-DENYS Garneau and Anne Hebert (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Source: Part 2: Works On F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 239-263
Part 2 Works On F.R. Scott; Selected book reviews; St.-Denys Garneau and Anne Hebert
Still, Robert (compiler)
D65 Bergeron, Leandre. "Une Heureuse Initiative." Rev. of St.-Denys-Garneau and Anne Hebert. Canadian Literature, No. 18 (Summer 1963), pp. 75-76. Bergeron praises Scott's absolutely literal translations which, though sometimes stilted in diction, manage to convey the images and ideas which Garneau and Hebert intended to convey.
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Source: Still, Robert (compiler); . Part 2: Works On F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 239-263 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP2.
Item Number: ABCMA04FSP2000004003004017
Record: 95- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; The Blasted Pine: An Anthology of Satire, Invective and Disrespectful Verse, Chiefly by Canadian Writers
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- Part 2 Works On F.R. Scott; Selected book reviews
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- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
Titles critiqued: BLASTED pine: An anthology of satire, invective and disrespectful verse, chiefly by Canadian writers, The (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Source: Part 2: Works On F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 239-263
Part 2 Works On F.R. Scott; Selected book reviews; The Blasted Pine: An Anthology of Satire, Invective and Disrespectful Verse, Chiefly by Canadian Writers
Still, Robert (compiler)
D55 Honderich, Ted. "Unsung but Unquiet Scrutineers." Toronto Daily Star, 24 Oct. 1957, p. 28. This anthology contains some good verse, despite the second-rate and polemical qualities of many other pieces.
D56 Davidson, True. Rev. of The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadian Writers. C.C.F. News, Nov. 1957, p. 8. There is an absence of the fair sex. Canadians early learned to laugh at themselves, which is a sign of maturity. This is a treat for today and a whole pantry-shelf of quotable material for tomorrow.
D57 Fefferman, Stan. "Book Reviews: Poets Laught -- 'A Purge for Hypocrites.' " McGill Daily, 11 Nov. 1957, p. 5. "Never have any preliminary comments so stimulated our imagination .... " The tone of voice in their introduction is exciting and intense, thus intensely exciting; their purpose is important, their point forcefully made. The satirical purpose of Smith and Scott find such an enthusiastic response from this McGill undergraduate newspaper that it was hailed as "probably the most important anthology of poems in Canada." The review is accompanied with a caricature of Smith and Scott in academic gowns and with smoking pistols; shaking hands. The caption reads: "a well-aimed spitball."
D58 Richler, Mordecai. "In Review." The Montrealer, Dec. 1957, pp. 69-70. The collection is uneven and some of the satirical targets have become cliche
D59 Davies, Robertson. "Books: Fourteen for the Twenty-Fifth." Saturday Night, 7 Dec. 1957, p. 25. An elegant and agreeable book, deserving the widest possible circulation -- but "keep it away from your Aunt Minnie."
D60 Dudek, Louis. Rev. of The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadian Writers. The Canadian Forum, Jan. 1958, p. 239. A collection of Canadian poetry that an intelligent human being -- Canadian or not -- can read with pleasure, with respect, and with an increment of intellectual stimulus. Dudek provides an analysis of satire as genre, and its Canadian forms. Dudek agrees with Smith of the Canadian poet, that when he relates Canadian life to a wider cosmopolitan flame of reference, his comment is likely to carry more weight.
D61 Ross, Malcolm. "Critically Speaking." CBC Radio, 26 Jan. 1958. Smith and Scott are a team "which delivered us in the nick of time -- from the Maple Leaf School of Canadian poetry." Ross emphasizes their role in the twenties, alerting us to the new international idiom of T. S. Eliot and Ezra Pound. Furthermore, since then they have been "hurling blockbusters at everything commonplace and conventional in Canadian writing -- and in conventional life." Ross also introduces a Folkways record "Six Montreal Poets."
D62 Frye, Northrop. "Letters in Canada: 1957. Poetry." University of Toronto Quarterly, 27 (July 1958), 447-48. Frye credits Scott and Smith with expert scholarship and critical judgement. He calls the book delightful, even while questioning the exclusion of satiric folk songs, Catholic religious satire, political wit in the newspapers, and right-wing satire.
D63 King, Carlyle. Rev. of The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadians. Canadian Historical Review, 39 (Dec. 1958), 337-39. King questions the editors' claim that this book offers a broad historical representation, noting the scarcity of early examples of satire. Yet he finds the more recent poems particularly effective and concludes by wishing success to this "delightfully and potently sour" anthology.
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- Part 2 Works On F.R. Scott; Selected book reviews; The Collected Poems of F. R. Scott
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
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Part 2 Works On F.R. Scott; Selected book reviews; The Collected Poems of F. R. Scott
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D28 Gervais, Marty. "On Books: Two Canadian Poets Prod Our Sensibilities." Rev. of The Collected Poems of F. R. Scott, by F. R. Scott; and My body was eaten by dogs, by David McFadden. The Windsor Star, 28 Nov. 1981, p. F5. Scott and McFadden are "at opposite ends of Can Lit, but ... share an affinity for satire." Scott was instrumental in the development of Modern poetry and socialism in Canada. "Scott's work over more than 36 years of writing varies tremendously." Some poems are satirical, "others are maudlin, touching vivid poems about love and relationships." "He also assumes the role of the metaphysical philospher ...." In addition, Scott has contributed translations of St.-Denys Garneau and Anne Hebert and "was one of the first 'found poets' in the 60s."
D29 Norms, Ken. "Scott: Poet for All Seasons." The Gazette [Montreal], 5 Dec. 1981, p. 56. "Scott has been an important figure in Canadian life for the past 60 years; as a poet, translator, politician, teacher and constitutional lawyer he has labored to define and forward the intellectual, political and literary development of this country." Norris notes Scott's role in the McGill Movement, the League for Social Reconstruction, and the CCF. "One admires Scott for his bold political and aesthetic undertakings. In considering his poetry, one is impressed by his passion, his craft and the remarkable scope evident in his body of poetic work." "Only Earle Birney has matched Scott in displaying such diversity of interests and a mastering of varying poetic forms." "Beyond the score of 'classic' poems that will continue to be anthologized, Scott has opened up poetic horizons in four distinct areas": "lyrics about the Canadian North," "social critiques," "satirical poems," and translations; the latter demonstrates Scott's "urgent ... attempt to understand both cultures" in Canada.
D30 Woodcock, George. Rev. of The Collected Poems of F. R. Scott. The Globe and Mail, 2 Jan. 1982, p. 14. Woodcock observes that Scott's growth as a poet parallels the development of a distinctive tradition in Canadian poetry. The earliest poem in this collection, "Below Quebec," is "charming and musical but it is in no way experimental." Scott's poetry began to express "stylistic and linguistic innovation" and reflected his "political radicalism" after helping to found the McGill Fortnightly Review. After tracing Scott's career from 1927 to the present, Woodcock suggests that the selections in this collection represent a kind of autobiography. He concludes that whole there are a few less successful poems in the book, "the final effect is one of undeniable grandeur -- the grandeur of a major poet."
D31 Abley, Mark. "Public and Private Engagements." Maclean's, 4 Jan. 1982, p. 47. As he lists the many and varied accomplishments of F.R. Scott, Abley states that this collection provides a comprehensive picture. "Lakeshore" is Scott's finest poem, reflecting a talent for describing the natural world. While his earlier verse now seems like "the jottings of a talented amateur," Scott later developed a greater freedom of style. The collection is slightly disappointing, possibly because "Scott's great gifts have produced many accomplished poems but few truly memorable ones," but the book deserves respect for its scope, honesty, and wit.
D32 Fulford, Robert. "F. R. Scott's Sure Intelligence Still Shines Through." Toronto Star, 16 Jan. 1982, p. F12. Scott is "the most exceptional Canadian of his generation and one of the century's towering figures." "Poet and politician, philosopher and lawyer, Scott is one of a kind. No one else has spread his talents so widely." "For many years he was at the centre of things, one of that remarkable group of Montrealers who permanently altered Canadian poetry by importing the insights of Eliot and Pound." "He wrote some marvelous satires, but in this collection the love poems seem far more vital and even the poems-about-poetry -- each one of them surely an act of elitist self-indulgence for the committed socialist -- have a sure-footed intelligence that reaches us across the decades." "His satires have lost their sting, not because they're weak but because their targets have disappeared or shrunk." Scott initially reacted against the emphasis on "'Canadian topics,' but in the end ... he brought to his work a specifically Canadian imagination" of "nature, particularly nature in winter." "His Collected, if not a work of even excellence, turns out to be one of the most readable of recent Canadian poetry books."
D33 Fitzgerald, Judith. Rev. of The Collected Poems of F. R. Scott. Quill & Quire, Feb. 1982, p. 44. After describing Scott's literary and political career, Fitzgerald states that this collection not only reflects his remarkably varied life, but also emerges as a tribute to a poet of "unerring vision." She praises his selection of poems and suggests that Scott should be the recipient of a Governor-General's Award for this collection.
D34 [Skelton, Robin.] Rev. of The Collected Poems of F.R. Scott. The Malahat Review, No. 61 (Feb. 1982), p. 237. This very brief review describes the work as a "landmark in Canadian Letters."
D35 Watt, F.W. "The Civilized Poet." The Canadian Forum, March 1982, pp. 32-33. In this highly laudatory review, Watt considers the collection to be the "life's work of a genuine poet." He suggests that Scott's "humane broadening of the scope of poetry" was his most important contribution and that he was instrumental in changing Canadian poetry from Victorian to Modern. The "private man" and "an artistic unity in the work despite the diversity of subject, attitude and mood" emerge most strongly in these selections.
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Source: Still, Robert (compiler); . Part 2: Works On F.R. Scott, Toronto, Ontario : ECW Press, 1983. pp. 239-263 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04FSP2.
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Record: 97- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; The Dance is One
- Other Title:
- Part 2 Works On F.R. Scott; Selected book reviews
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Still, Robert (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
Titles critiqued: DANCE is one (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
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Source: Part 2: Works On F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 239-263
Part 2 Works On F.R. Scott; Selected book reviews; The Dance is One
Still, Robert (compiler)
D25 Pacey, Desmond. Rev. of The Dance Is One. The Fiddlehead, No. 99 (Fall 1973), pp. 94-96. Pacey comments that nostalgia pervades this book of poems about the past. Scott's wit is still evident, but it is now a minor, almost worn-out element m the poetry. This view seems to be an unusual one for Pacey who has always preferred Scott's satires, but here lavishes praise on the lyrics. "The best of the nature poems bear a tragic burden upon their apparently slight lyric grace."
D26 Scobie, Stephen. Rev. of The Dance Is One. Queen's Quarterly, 80 (Winter 1973), 654-55. This review lavishes praise on Scott as a public personality. Scobie sees this book as "a consolidation and expansion of previous achievements." Special praise is given to the translations.
D27 Muir, Ann. Rev. of The Dance Is One. Dalhousie Review, 53 (Winter 1973-74), 181-83. Muir's comments apply to Scott's work as a whole as well as to this book. "In Scott's dance of life it is clear that there are always two distinct elements at work. Life itself, whether on a personal or rational level, constantly involves struggle and upheaval; but Scott insists it is through conflicts that we come to an awareness of each other's individuality and separateness, which in turn can lead toward unity and harmony." Muir also points out Scott's recurrent weakness in using dull rhythms and in being overly didactic. This review is one of the best short assessments of Scott's work.
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Record: 98- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; The Eye of the Needle
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- Part 2 Works On F.R. Scott; Selected book reviews
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Titles critiqued: EYE of the needle (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Source: Part 2: Works On F.R. Scott. Still, Robert (compiler); Toronto, Ontario : ECW Press, 1983, pp. 239-263
Part 2 Works On F.R. Scott; Selected book reviews; The Eye of the Needle
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D9 Pacey, Desmond. Rev. of The Eye of the Needle. The Canadian Forum, March 1957, pp. 285-86. Pacey spends half of this review condemning Ryerson Press for their use of cheap paperback publications for a poet of Scott's stature. As usual, the satires are lauded and the lyrics neglected: "Scott has once again demonstrated his deadly accuracy of aim at the soft underbelly of our complacency."
D10 Duncan, Chester. Rev. of The Eye of the Needle. The Tamarack Review, No. 3 (Spring 1957), pp. 81-82. Duncan finds no redeeming qualities m the book. Scott is a bad poet -- "generally hollow, dated because superficial, and careless."
D11 Lucas, Alec. Rev. of Dance without Shoes, by William Pillin; and The Eye of the Needle, by F. R. Scott. The Fiddlehead, No. 32 (May 1957), p. 34. These poems reveal no real development, but they do demonstrate Scott's strength as a satirist. While some of Scott's "almost constant thumping of businessmen and officialdom" is wearisome, Lucas praises Scott's wit and powers of observation.
D12 Dudek, Lores. Rev. of The Eye of the Needle. Delta, No. 1 (Oct. 1957), pp. 17-19. Dudek is obviously pro-Scott. He attacks those who disparage Scott's ability as a satirist and provides a long list of what he considers to be Scott's virtues as a poet. Dudek finds this book "a valuable, lively, amusing and stimulating book" which illustrates Scott's "passionate moral conviction."
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Record: 99- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; Trouvailles: Poems for Prose
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- Authors discussed: SCOTT, F.R.; SCOTT, F.R. -- Criticism & interpretation -- Bibliography
Titles critiqued: TROUVAILLES: Poems for prose (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
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Part 2 Works On F.R. Scott; Selected book reviews; Trouvailles: Poems for Prose
Still, Robert (compiler)
D22 MacCallum, Hugh. "Letters in Canada: 1957. Poetry." University of Toronto Quarterly, 37 (July 1968), 373-74. MacCallum comments that the poems in this book are quite good for found poems. True to Scott's earlier poetry, these poems also focus on "social absurdity and the hypocrisy of government." Unfortunately, the effect of found poems soon wears off, so they should be read with caution.
D23 Gasparini, Len. Rev. of Trouvailles: Poems from Prose. Canadian Literature, No. 39 (Winter 1969), pp. 90-91. Gasparini clearly dislikes found poems no matter who the poet is. "They are quickly written, quickly read, and quickly forgotten. Mr. Scott's discoveries are no exception. At best, they rank among such entertaining parlor games as Scrabble and charades." Gasparini laments that Scott, "the Thomas Paine of cerebral pleasure," should descend to this level.
D24 Cole, Barry. Rev. of Trouvailles: Poems from Prose. Edge, No. 9 (Summer 1969), pp. 172-73. Cole notes Scott's remarkable powers of observation and his ability to manipulate line lengths to turn mundane prose into clever verse.
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Record: 100- Title:
- Part 2 Works On F.R. Scott; Selected book reviews; Un Canada Nouveau: Vue d'ensemble de l'historique et de la politique de mouvement c.c.f.
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Still, Robert (compiler) Part 2: Works On F.R. Scott.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 239-263)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Part 2 Works On F.R. Scott; Selected book reviews; Un Canada Nouveau: Vue d'ensemble de l'historique et de la politique de mouvement c.c.f.
Still, Robert (compiler)
D41 R., R. "Livres Canadiens." Culture, 6 (1945), 249-50. "Ce livre s'efforce d'e1aborer un systeme qui vaille aussi en temps de paix en s'appuyant sur les resultats acquis pendant ces dix dernieres annees, surtout depuis 1940: ce systeme s'appelle la C.C.F." "Les auteurs tracent un bref apercu historique du capitalisme d'une part et de la democratie au Canada d'autre part .... ils exhortent alors la masse des non-capltalistes, 99 pour-cent de la population, a prendre leur part d'action politique pour aider au renversement des monopoles." Ils posent la question "Comment appliquera-t-elle ses beaux principes d'egalite pour tous une fois au pouvoir?" et repondent dans "la derniere partie du livre en tracant un tableau ideal d'une societe reformee." On songe malgre soi a l'Utopia de Thomas More, ou a Candide. "Le livre abonde en faits, chiffres et statistiques. Malgre cette secheresse apparente de matiere l'interet en est extreme .... La traduction de l'anglais parait heureuse et est surement e1egante, si on considere l'austerite du sujet."
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Record: 101- Title:
- Part 1 Works By A.J.M
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- Burke, Anne (compiler)
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Bibliography
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- Burke, Anne (compiler) Part 1: Works By A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 269-309)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Source: Part 1: Works By A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 269-309
Part 1 Works By A.J.M
Burke, Anne (compiler)
B456 Letter. McGill Daily, 12 Oct. 1925, pp. 3-4.
B457 "Dialogue of a Sunday Night." McGill Daily, 14 Oct. 1925, p. 2. Prose.
B458 Letter. McGill Daily, 6 Oct. 1926, p. 2.Signed: "The Editor."
B459 "The Wise Old Gentleman." McGill Daily, 18 March 1926, p. 2. Prose.
B460 Letter. The Canadian Forum, July 1944, p. 89.
B461 Letter. The Canadian Forum, April 1947, P. 18.
B462 Letter. The Canadian Forum, Jan. 1957, p. 237. Smith responds to the ongoing letters to the editor of The Canadian Forum by Louis Dudek, Irving Layton, and himself.
B463 "Letter to Louis Dudek." Delta [Montreal], No. 16 (Nov. 1961), p. 3. Signed: "A. J. M."
B464 "My Favourite Poem." In How Do I Love Thee: Sixty Poets of Canada (and Quebec) Select and Introduce Their Favourite Poems from Their Own Work. Ed. John Robert Colombo. Edmonton: Hurtig, 1970, p. 3. Sixteen lines of commentary on "Bird and Flower" (B139).
B465 Letter. Outposts, No. 100 (Spring 1974), p. 70.
B466 Letter. The Canadian Forum, Jan. 1975, p. 35.
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Source: Burke, Anne (compiler); . Part 1: Works By A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 269-309 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP1.
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Record: 102- Title:
- Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Audio material
- Other Title:
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- Author(s):
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- Genre(s):
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
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A25 Callaghan Stories. Narr. and introd. Morley Callaghan. Toronto: CBC Learning Systems, 1973.(13 cassette audiotapes; 390 min.) Includes "Absolution" (No. 614) (B438), "All the Years of Her Life" (No. 611) (B435), "The Blue Kimono" (No. 612) (B436), "A Cap for Steve" (No. 613) (B437), "Ellen" (No. 620) (B445), "The Faithful Wife" (No. 614) (B438), "Father and Son" (No. 621) (B446), "The Homing Pigeon" (No. 622)(B447), "Last Spring They Came Over" (No. 619)(B444), "The Little Business Man" (No. 617)(B442), "Lunch Counter" (No. 618) (B443), "A Predicament" (No. 610) (B434), "The Red Hat" (No. 620) (B445), "Rigmarole" (No. 615) (B439), "The Shining Red Apple" (No. 615)(B439), "A Sick Call" (No. 618) (B443), "The Snob" (No. 611)(B435), "Their Mother's Purse" (No. 610) (B434), "Two Fishermen" (No. 616) (B440), and "The White Pony" (No. 612) (B436).
See A17 and Section B cross references thereto.
A26 More Joy in Heaven. Narr. Desmond Scott. Toronto: Canadian National Institute for the Blind, 1975. (4 cassette audiotapes; monaural; 360 min.) See A7.
A27 That Summer in Paris. Memories of Tangled Friendships with Hemingway, Fitzgerald and Some Others. Narr. Norman Rhodes. Toronto: Canadian National Institute for the Blind, 1976. (4 cassette audiotapes; monaural; 360 min.) See A20 and C596.
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- Author(s):
- Kendle, Judith (compiler)
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
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Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Juvenile fiction
Kendle, Judith (compiler)
A19 Luke Baldwin's Vow. Illus. Stanley Turner.
Philadelphia: Winston, 1948. 187 pp.
[underbar]. Illus. Stanley Turner. Toronto: Winston, 1948. 187 pp.
[underbar]. Illus. Michael Poulton. Toronto: Macindian, 1974. 187 pp.
[underbar]. Illus. Michael Poulton. Richmond Hill, Ont.: Scholastic-TAB, 1974. 187 pp.
La promesse de Luke Baldwin. Trans. Michelle Tisseyre. Montreal: Pierre Tisseyre, 1980. 207 pp. See C584 and C594.
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
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Record: 104- Title:
- Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Manuscripts
- Other Title:
- Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
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Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Manuscripts
Kendle, Judith (compiler)
Note: There is no major depository of Callaghan material. Isolated items appear, however, in several collections held by the following libraries and archives, or by private individuals.
A28 Department of Rare Books
and Special Collections
University of Calgary Library
University of Calgary
Calgary, Alberta
"A small bit of correspondence (4-5 letters each)" in the Malcolm Ross, Hugh MacLennan, ,and Mordecai Richler Collections, 1960-75.
A29 Radio Drama Collections
Broadcasting Archives
Concordia University
Montreal, Quebec
Production script of the radio adaptation of "To Tell the Truth," written by James Mavor Moore.
Adaptor's script of the radio adaptation of "Luke Baldwin's Vow," written by Eric Cameron; production script held by the University of Calgary.
This archive contains CBC Drama Department scripts and ancillary materials from 1927 to the present, as well as several personal collections of people involved with radio drama. The materials have been indexed to the end of 1961, and a bibliography and union list of holdings is now complete (see C489).
A30 A. Brandon Conron
605 Windermere Road
London, Ontario
Ts. of "Going Home: A Play in Three Acts" "used in the stage production of 1950." Ts. copy "of the relevant excerpts from a variant stage version [of the above] in which Andrew Aikenhead, rather than his son, Michael, is made responsible for the death of Dave." Personal letters from Callaghan to Conron plus copies of correspondence to Callaghan from other writers.
A31: Macmillan Company (Canada) Archives
Mills Memorial Library
McMaster University
Hamilton, Ontario
This archive contains "a fair amount of Callaghan material" for the period 1948-66, including 3 letters to the author in the executive correspondence series, and more substantial files in the author correspondence series on The Varsity Story, The Many Colored Coat, Morley Callaghan's Stories, Now That April's Here, and That Summer in Paris. The latter files include an original corrected ts. of The Varsity Story, correspondence to and from Callaghan, correspondence with English and American publishers, reader's reports, and some miscellaneous material. It should be pointed out that the second part of the archive, covering the period 1966-79, is still unsorted. The Mills Memorial Library also holds 4 Callaghan letters, dated 1928-31, in the Raymond Knister Collection.
A32 Metropolitan Toronto Library
789 Yonge Street
Toronto, Ontario
Ts. of "Going Home: A Play in Three Acts," held by the Theatre Department. Ts. of the screenplay, Now That April's Here. Adapted Norman Klenman. Dir. William Davidson. Toronto: Klenman-Davldson Productions, 1958.82 leaves. Held by the Theatre Department. Clipping files containing newspaper, magazine, and journal articles about Callaghan, and reviews for the years 1928- , many of which are annotated in sections C and D of this bibliography. The collection includes (a) numerous items in "Canadian Literature Scrapbooks" (on microfilm), plus 9 vertical file folders (on microfiche), held by the Literature Department; (b) the "Canadian Catalogue" (on microfiche), plus current vertical file folders, held by the Bibliographic Centre; and (c) a few items in "Biographical Scrapbooks of Men" (on microfilm), held by the Canadian History Department.
A33 The Billy Rose Theater Collection
Performing Arts Research Center
New York Public Library
New York, New York
Ts. (prompt book) of "Turn Again Home" [n.p., 1940]. Act. I, 42 leaves; Act II, 42, leaves; Act III, 38 leaves. On the cover of the manuscript: "New Version I/10/40."
A34 Public Archives of Canada
395 Wellington Street
Ottawa, Ontario
Two letters, 1972 and 1974, in the Carl E. Schaeffer Papers, referring to a 1938 watercolour by Schaeffer, "Moon over Don Jail," which coincides with the location of events in Callaghan's novel, It's Never Over. The 1974 letter is to Callaghan. Two undated [1951] letters from Callaghan to Mrs. E. K. Brown in the E. K. Brown Papers.
A35 Lorne Pierce Papers
Queen's University Archives
Queen's University
Kingston, Ontario
Two letters dated 2 and 4 July 1949 referring to the Raymond Knister galleys. The 4 July letter is to Callaghan.
A36 Thomas Fisher Rare Book Library
University of Toronto
Toronto, Ontario
Ts. of "Going Home: A Play in Three Acts," plus related material, in the New Play Society Papers, Box 18. This box also contains Acts II and III of a variant version of the play in which Michael's father, Andrew Aikenhead, is accused of Dave's murder. Ts. of "To Tell the Truth" II.ii and III.i, plus related material, in The New Play Society Papers, Box II. Typed draft with many holographic corrections of Winter [Toronto, 1973-74(?)]. 24 [sic; 25] leaves. Two letters each in the Earle Birney, William Arthur Deacon, and A.J.M. Smith Papers, [1932]-63.
A37 University of Toronto Archives
University of Toronto Library
Toronto, Ontario
Clipping files compiled by the Department of Graduate Records for the years 1927-63, as well as a more current vertical file for the years 1970-78. The files contain articles about Callaghan and reviews from local newspapers and The Varsity, many of which are annotated in sections C and D of this bibliography.
A38 York University Archives
York University
Downsview, Ontario
Ts. (3 copies) of "Going Home: A Play in Three Acts," in the James Mavor Moore Papers, Box 63. Ts. of a television adaptation of "To Tell the Truth," written by James Mavor Moore, n.d., in the James Mavor Moore Papers, Box 8. This archive also holds approximately 25 years of CBC TV drama scripts, 1952-77. Although the collection is not yet completely organized, preliminary investigation reveals that it includes film rehearsal schedules, production notes, and scripts for episodes I to VI inclusive of the television serialization of More Joy in Heaven, 1964, as well as scripts for dramatizations of 4 short stories in the Canadian Short Stories series, 1970: "Father and Son," "The Magic Hat," "Rigmarole," and "Very Special Shoes." The collection also includes a second copy of the script, plus production documents, for the James Mayor Moore television adaptation of "To Tell the Truth" as above, production date 1952. The archive also holds 2 letters from Callaghan to Margaret Laurence, dated 1 July 1964 and 11 Nov. 1973, in the Margaret Laurence Papers.
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
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Record: 105- Title:
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- Record Type:
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- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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A20 That Summer in Paris: Memories of Tangled Friendships with Hemingway, Fitzgerald and Some Others. London: MacGibbon and Kee, 1963. 200 pp.
[underbar]. New York: Coward-McCann, 1963. 255 pp.
[underbar]. Toronto: Macmillan, 1963. 255 pp.
[underbar]. Laurel, No. 8664. New York: Dell, 1964. 254 pp.
[underbar]. Consul Books, No. 1452. London: World Distributors, 1966. 157 pp. Quell'estate a Parigi. Trans. Renzo Federici. Quaderni della Medusa, No. 74. Milan and Verona: A. Mondadori, 1967. 291 pp. Cet ete-la a Paris. Trans. Michelle Tisseyre. Collection des deux solitudes. Montreal: Pierre Tisseyre, 1976. 303 pp.
That Summer in Paris: Memories of Tangled Friendships with Hemingway, Fitzgerald and Some Others. Laurentian Library, No. 40. Toronto: Macmillan, i976. 255 pp.
[underbar]. Harmondsworth, Eng.: Penguin, 1979. 255 pp. All English editions, except Laurel (1964), include photographs. See A27 and C596.
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
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Record: 106- Title:
- Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Miscellaneous
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- Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
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Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Miscellaneous
Kendle, Judith (compiler)
A21 The Varsity Story. Illus. Eric Aldwinckle.
Toronto: Macmillan, 1948. 172 pp. See C580.
A22 Winter. Boston: New York Graphic Society, 1974. N. pag.
[underbar]. Toronto: McClelland and Stewart, 1974. N. pag.
L'hiver. Trans. Michelle Tisseyre. Montreal: Cercle du Livre de France, 1974. N. pag. All editions include text by Morley Callaghan and photographs by John de Visser. See B398 and B529.
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
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Record: 107- Title:
- Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Novels
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- Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Novels
Kendle, Judith (compiler)
[underbar]
A1 Strange Fugitive. New York: Grosset & Dunlop, 1928. 264 pp.
[underbar]. New York: Scribners, 1928. 264 pp.
[underbar]. Introd. Robert Weaver. Edmonton: Hurtig, 1970. vi, 266 pp.
Includes two additional pages of text (continuing from page 126) written specifically for this reprint.
[underbar]. Laurentian Library, No. 15. Toronto: Macmillan, 1973. 2l4 pp.
A2 It's Never Over. New York: Scribners, 1930. 225 pp.
[underbar]. Toronto: Macmillan, 1930. 225 pp.
[underbar]. Preface Morley Callaghan. Laurentian Library, No. 13. Toronto: Macmillan, 1972. [i], 153 pp.
A3 No Man's Meat. Paris: Edward W. Titus, At the sign of the Black Manikin, 1931. 42 pp.
Autographed, numbered edition of 525 copies.
See A13.
A4 A Broken Journey. New York: Scribners, 1932. 270 pp.
[underbar]. Toronto: Macmillan, 1932. 270 pp.
[underbar]. Laurentian Library, No. 36. Toronto: Macmillan, 1976. 270 pp.
A5 Such Is My Beloved. London: Scribners, 1934. 288 pp.
[underbar]. New York: Scribners, 1934. 288 pp.
[underbar]. Toronto: Macmillan, 1934. 288 pp.
[underbar]. Introd. Malcolm Ross. New Canadian Library, No. 2. Toronto: McClelland and Stewart, 1957. ix, 144 pp.
Telle est ma bien aimee. Introd. and trans. Michelle Tisseyre. Collection des deux solitudes.
Montreal: Cercle du Livre de France, 1974. 2, 244 pp.
A6 They Shall Inherit the Earth. Modern Library.
New York: Random House, 1935. 337 pp.
[underbar]. Toronto: Macmillan, 1935. 337 pp.
[underbar]. London: Chatto and Windus, 1936. 348 pp.
[underbar]. Red Seal Books, No. 5. New York: Modern Age Books, 1937. 239 pp.
[underbar]. Introd. F. W. Watt. New Canadian Library, No. 33. Toronto: McClelland and
Stewart, 1962. vi, 244 pp.
See A24.
A7 More Joy in Heaven. NewYork: Random House, 1937. 278 pp.
[underbar]. Toronto: Macmillan, 1937. 278 pp.
C'e piu gioia in cielo. Trans. Puccio Russo.
Milan: V. Bompiani, 1949. 257 pp.
[underbar]. Trans. Puccio Russo. Milan and Verona: A. Mondadori, 1955. 228 pp.
[underbar]. Trans. Puccio Russo. I libri del pavone.
Milan: A. Mondadori, 1959. 227 pp.
More Joy in Heaven. Introd. Hugo McPherson.
New Canadian Library, No. 17. Toronto: McClelland and Stewart, 1960. vi, 149 pp.
Scastija Znajdes Na Nebi. Trans. V. Korobko and I. Lescenko. Kiev: Rad. pis' mennik, 1963. 147 pp.
See A26, C586, C587, C592, and C593.
A8 The Loved and the Lost. New York: Macmillan, 1951. 234 pp.
[underbar]. Toronto: Macmillan, 1951 234 pp.
[underbar]. Signet. New York: New American Library, 1952. 191 pp.
[underbar]. London: MacGibbon and Kee, 1961. 234 pp.
[underbar]. Four Square Books, No. 1624. London: New English Library, 1966. 224 pp.
[underbar]. Laurentian Library, No. 9. Toronto: Macmillan, 1970. 234 pp.
Lyubimaia i poteriannaia. Trans. E. Korotkovoi.
Introd. Leon Bagramov. Moscow: Molodaia gvardiia, 1972. 8, 291 pp.
Obicana i izgubena. Trans. Georgi Papancev. Sofia: Narodna mladez, 1977. 260 pp.
See C585.
A9 The Many Colored Coat. New York: Coward-McCann, 1960. 318 pp.
[underbar]. Toronto: Macmillan, 1960. 318 pp.
[underbar]. London: MacGibbon and Kee, 1963. 318 pp.
[underbar]. Laurenuan Library, No. 12. Toronto: Macmillan, 1972. 326 pp.
See B106.
A10 A Passion in Rome. New York: Coward-McCann, 1961. 352 pp.
[underbar]. Toronto: Macmillan, 1961 352 pp.
[underbar]. New York: Dell, 1962. 320 pp.
Passion I Rom. Trans. Gertrud Zetterholm.
Stockholm: Skoglund, 1963. 266 pp.
A Passion in Rome. London: MacGibbon and
Kee, 1964. 352 pp.
Cette belle faim de vivre. Trans. Lucien Parizeau.
Montreal: La presse, 1976. 296 pp.
A Passion in Rome. Laurentian Library, No. 62.
Toronto: Macmillan, 1978. 352 pp.
A11 A Free and Private Place. New York: Mason/Charter, 1975. 213 pp.
[underbar]. Toronto: Macmillan, 1975. 213 pp.
[underbar. New York: Popular Library, 1977. 252 pp.
A12 Close to the Sun Again. New York: St. Martin's, 1977. 169 pp.
[underbar]. Toronto: Macmillan, 1977. 169 pp.
[underbar]. Signet. Scarborough, Ont.: Macmillan-NAL, 1978. 171 pp.
A13 No Man's Meat & The Enchanted Pimp.
Toronto: Macmillan, 1978. 170 pp.
The novella, "No Man's Meat," "appears here in slightly revised form." See A3. See also B109.
A14 Morli Kallagan: Radost' na nebesakh; Tikhii ugolok; I snova k solutsu. Trans. N. Bat, I.
Arkhangelskaya, I. Guriva. Afterword S. Belov.
Moscow: Ruduga, 1982. 19,526 pp.
Includes three of Callaghan's novels in translation: More Joy in Heaven (A7), A Fine and Private Place (A11), and Close to the Sun Again (A12).
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
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Record: 108- Title:
- Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Plays
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- Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Plays
Kendle, Judith (compiler)
A23 To Tell the Truth. Dir. James Mavor Moore. Prod. New Play Society. Royal Ontario Museum Theatre, Toronto. 14-22 Jan. 1949.
[underbar]. Dir. James Mavor Moore. Prod. New Play Society. Royal Alexandra Theatre, Toronto. 7-12 Feb. 1949. Callaghan originally entitled this piece "Just Ask for George" and wrote it in 1939. See A36 for the location of a manuscript copy (fragment) of the script. The cast includes Don Harron, Lloyd Bochner, Dianne Foster, Beth Lockerbie, Gerry Sarracini, et al. See also C581 and C582.
A24 Going Home. Dir. James Mavor Moore. Prod. New Play Society. Royal Ontario Museum Theatre, Toronto. 24 March-1 April 1950. An adaptation from Callaghan's novel, They Shall Inherit the Earth. The cast includes Robert Christie, Gerry Sarracini, Toby Robins, Don Harron, et al. Callaghan originally adapted his novel in 1939 under the title "Turn Again Home," but it was not produced until 1950. See A30, A32, A33, A36, and A39 for locations of manuscript copies of various versions of the above.
Season of the Witch. Exile Editions, No. 3. Toronto: House of Exile, 1976. N. pag.
[underbar]. Dir. Michael Mawson. Prod. Peterborough Summer Theatre. Wenjak Theatre, Trent Univ., Peterborough, Ont. 3 July-29 Aug. 1976. This revised title includes, among other details, different character names. See also "Season of the Witch" (B171). The cast for the Wenjak Theatre production includes Claude Bede, Jan Campbell, et al.
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
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Record: 109- Title:
- Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Stories
- Other Title:
- Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Books (novels, stories, juvenile fiction, memoirs, miscellaneous, plays), audio material, and manuscripts; Stories
Kendle, Judith (compiler)
A15 A Native Argosy. New York: Scribners, 1929. 371 pp.
[underbar]. Toronto: Macmillan, 1929. 371 pp
[underbar]. Short Story Index Reprint Series. Freeport, N.Y.: Books for Libraries, 1970. 371 pp. Includes "Amuck in the Bush" (B3), "Ancient Lineage" (B8), "An Autumn Penitent" (B6), "A Cocky Young Man," "A Country Passion" (B7), "An Escapade" (B12), "A Girl with Ambition" (B1), "In His Own Country" (B13, B14, B15), "Last Spring They Came Over" (B5), "The Life of Sadie Hall," "A Predicament" (B9), "A Princely Affair," "A Regret for Youth" (B10), "Settling Down," "Soldier Harmon" (B11), and "A Wedding-Dress" (B4).
A16 Now That April's Here and Other Stories. New York: Random House, 1936. 316 pp.
Includes "Absolution" (B23), "All the Years of Her Life" (B56), "The Blue Kimono" (B54), "The Bride" (B37), "Day by Day" (B26), "The Duel" (B50), "Ellen" (B32), "The Faithful Wife" (B17), "Father and Son" (B45), "Guilty Woman" (B30), "It Must Be Different!" (B58), "Let Me Promise You" (B36), "Lunch Counter" (B20), "Mr. and Mrs. Fairbanks" (B34), "Now That April's Here" (B16), "An Old Quarrel" (B33), "One Spring Night" (B43), "Possession" (B53), "The Red Hat" (B22), "The Rejected One" (B39), "Rigmarole" (B55), "Rocking Chair" (B9), "The Runaway" (B49), "A Separation" (B38), "The Shining Red Apple" (B57), "A Sick Call" (B27), "Silk Stockings" (B24), "Sister Bernadette" (B25), "The Snob" (B48), "Three Lovers" (B47), "Timothy Harshaw's Flute" (B42), "The Two Brothers" (B51), "Two Fishermen" (B41), "The Young Priest" (BIII), and "Younger Brother" (B21).
A17 Morley Callaghan's Stories. Preface Morley Callaghan. Toronto: Macmillan, 1959. [1], 364 pp.
[underbar]. London: MacGibbon and Kee, 1962. Vol. I. 186 pp.
[underbar]. London: MacGibbon and Kee, 1964. Vol. II. 189 pp.
Podvenechnoe Plat'e. Ed. I. Grachev. Trans. G. Stetsenko. Illus. E. Shukaeu. Afterword L. Orel. Moscow: Progress, 1966. 100 pp.
Includes "A Cap for Steve" (B101), "The Cheat's Remorse" (B71), "The Duel" (B50), "A Girl with Ambmon" (B1), "The Little Business Man" (B89), "Mr. and Mrs. Falrbanks" (B34), "An Old Quarrel" (B33), "The Red Hat" (B22), "A Sick Call" (B27), "A Very Merry Christmas" (B74), "The Voyage Out" (B60), and "A Wedding-Dress" (B4).
Morley Callaghan's Stories. Preface Morley Callaghan. Laurentian Library, No. 5. Toronto: Macmillan, 1967. [1], 390 pp.
All English editions include "Absolution" (B23), "All the Years of Her Life" (B56), "Amuck in the Bush" (B3), "Ancient Lineage" (B8), "The Blue Kimono" (B54), "The Bride" (B37), "A Cap for Steve" (B101), "The Cheat's Remorse" (B71), "A Cocky Young Man," "A Country Passion" (B7), "Day by Day" (B26), "The Duel" (B50), "Ellen" (B32), "An Escapade" (B12), "The Faithful Wife" (B17), "Father and Son" (B45), "Getting On in the World" (B81), "A Girl with Ambition" (B1), "Guilty Woman" (B30), "The Homing Pigeon" (B69), "It Had to Be Done" (B78), "It Must Be Different!" (B58), "Last Spring They Came Over" (B5), "Let Me Promise You" (B36), "The Little Business Man" (B89), "Lunch Counter" (B20), "Magic Hat" (Bloo), "Mr. and Mrs. Falrbanks" (B34), "Now That April's Here" (BI6), "An Old Quarrel" (B33), "One Spring Night" (B43), "A Predicament" (B9), "A Princely Affair," "The Red Hat" (B22), "A Regret for Youth" (B10), "The Relected One" (B39), "Rigmarole" (B55), "Rocking-Chair" (B29), "The Runaway" (B49), "The Shining Red Apple" (B57), "A Sick Call" (B27), "Silk Stockings" (B24), "Sister Bernadette" (B25), "The Snob" (B48), "Soldier Harmon" (B11), "Their Mother's Purse" (B63), "Timothy Harshaw's Flute" (B42), "The Two Brothers" (B51), "Two Fishermen" (B41), "A Very Merry Christmas" (B74), "Very Special Shoes" (B85), "The Voyage Out" (B60), "Watching and Waiting" (B62), "A Wedding-Dress" (B4), "The White Pony" (B77), "Younger Brother" (B21), and "The Young Priest" (B111).
See A25 and Section B cross references thereto.
A18 An Autumn Penitent. Laurentian Library, No. 16.
Toronto: Macmillan, 1973. 171 pp. Includes "An Autumn Penitent" (B6) and "In His Own Country" (B13, B14, B15).
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
Item Number: ABCMA05MCP1000005001001002
Record: 110- Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Short stories
- Other Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Short stories
Kendle, Judith (compiler)
Note: When an item is reprinted in one of Callaghan's books, or is available in a sound recording, this fact is noted in the entry through one of the following abbreviations:
An Autumn Penitent ............... AP
A Broken Journey ................. BJ
Callaghan Stories ................ CS
Close to the Sun Again .......... CSA
A Fine and Private Place ....... FPP
Luke Baldwin's Vow ............. LBV
The Many Colored Coat ....... MCC
More Joy in Heaven .............. MJH
Morley Callaghan's Stories ...... MCS
A Native Argosy ............ . . . NA
No Man's Meat & The Enchanted
Pimp. . . . . . . . . . . . . .NMM
Now That April's Here and Other
Stories .................. NTAH
Nscastija Znajdes Na Nebi....... SZNN
Season of the Witch ............. SW
That Summer in Paris: Memories of
Tangled Friendships with Hemingway,
Fitzgerald and Some Others ......TSP
They Shall Inherit the Earth ... TSIE
Winter .................. . . . Win.
B1 "A Girl with Ambition." This Quarter, I, No. 2 [Autumn-Winter 1925-26], 233-42. NA; MCS.
B2 "Lilac and the Lady." Toronto Star Weekly [Toronto Daily Star], 9 Jan. 1926, p. 18. This is a fragment of a story, consisting of three paragraphs.
B3 "Amuck in the Bush." In The American Caravan: A Yearbook of American Literature. Ed. Van Wyck Brooks, Alfred Kreymborg, Lewis Mumford, and Paul Rosenfeld. New York: Macaulay, 1927, pp. 528-35. NA; MCS.
B4 "A Wedding Dress." This Quarter, I, No. 3 [Spring 1927], 243-48. Rpt. in The Canadian Nation, March-April 1929, pp. 12-13. NA; MCS. See B419.
B5 "Last Spring They Came Over." transition, No. 3 (June 1927), pp. 19-28. Rpt. trans. Angela Uthe-Spencker ("Im letzen Frueling kamen sie heruber") in Stories from Canada: Erzahlungen aus Kanada. Trans. Angela Uthe-Spencker. Ebenhausen bei Munchen: Langewiesche-Brandt, 1969, pp. 54-75. NA ("Last Spring They Came Over"); MCS. See CS and B444.
B6 "An Autumn Penitent." In The Second American Caravan: A Yearbook of American Literature. Ed. Alfred Kreymborg, Lewis Mumford, and Paul Rosenfeld. New York: Macaulay, 1928, pp. 555-619. NA; AP.
B7 "A Country Passion." transition, No. 12 (March 1928), pp. 70-80. NA; MCS. See B45I.
B8 "Ancient Lineage." The Exile, No. 3 (Spring 1928), pp. 79-89. NA; MCS. See B457.
B9 "A Predicament?' Scribner's Magazine, July 1928, pp. 43-45. Rpt. trans. L. Orel ("Zatrudnytel'noe polozhenye") in Zateriannaia ulitsa: Sovremennaia kanadskaia novella. Moscow: Progress, 1971, pp. 121-24. NA ("A Predicament"); MCS. See CS, B427, B434, C495, and C597.
B10 "A Regret for Youth." Scribner's Magazine, July 1928, pp. 37-43. NA; MCS.
B11 "Soldier Harmon." Scribner's Magazine, Aug. 1928, pp. 161-68. Rpt. in Toronto Star Weekly [Toronto Daily Star], 11 Jan. 1930, Sec. Gen. 2, p. 2. NA; MCS (revised). See B460.
B12 "An Escapade." The New Yorker, 24 Nov. 1928, pp. 22-25. NA; MCS.
B13 "In His Own Country." Scribner's Magazine, Jan. 1929, pp. 1-13, 118-22. NA; AP. First of three parts.
B14 "In His Own Country." Scribner's Magazine, Feb. 1929, pp. 143-54, 239-44. NA; AP. Second of three parts.
B15 "In His Own Country." Scribner's Magazine, March 1929, pp. 301-10, 364-66. NA; AP. Third of three parts.
B16 "Now That April's Here." This Quarter, 2, No. 2 (Oct.-Nov.-Dec. 1929), 270-80. NTAH; MCS.
B17 "The Faithful Wife." The New Yorker, 28 Dec. 1929, pp. 14-15. NTAH; MCS. See CS and B438.
B18 "Lady in a Green Dress." Scribner's Magazine, Aug. 1930, pp. 173-78. Rpt. in The Canadian Magazine, Feb. 1932, pp. 13, 40-41.
B19 "The Chiseller." The New Yorker, 16 Aug. 1930, pp. 15-17.
B20 "Lunch Counter." The New Yorker, 2 May 1931, pp. 17-19. NTAH; MCS. See CS and B443.
B21 "Younger Brother." The New Yorker, 23 May 1931, pp. 16-18. NTAH; MCS. See B461.
B22 "The Red Hat." The New Yorker, 31 Oct. 1931, pp. 18-20. NTAH; MCS. See CS, B421, and B445.
B23 "Absolution." The New Yorker, 5 Dec. 1931, pp. 20-21. NTAH; MCS. See CS and B438.
B24 "Silk Stockings." The New Yorker, 16 April 1932, pp. 16-19. NTAH; MCS. See C583 (Now That April's Here).
B25 "Sister Bernadette." Scribner's Magazine, Aug. 1932, pp. 77-79. NTAH; MCS.
B26 "Day by Day." The New Yorker, 20 Aug. 1932, pp. 13-15. NTAH; MCS. See B453.
B27 "A Sick Call." Atlantic Monthly, Sept. 1932, pp. 288-92. Rpt. trans. Gerhard Bottcher ("Ein Krankenbesuch") in Die weite Reise: Kanadische Erzahlungen und Kurzgeschichten. Ed. Ernst Bartsch. Berlin: Verlag Volk und Welt, 1974, pp. 17-26. NTAH ("A Sick Call"); MCS. See CS, B443, and C583 (Now That April's Here).
B28 "Poolroom." Scribner's Magazine, Oct. 1932, pp. 209-12.
B29 "Rocking Chair." The North American Review, Dec. 1932, pp. 493-97. NTAH; MCS. See B458 and C583 (Now That April's Here).
B30 "Guilty Woman." Common Sense, 29 Dec. 1932, pp. 20-21 NTAH; MCS. See B459.
B31 "Emily." Household Magazine, Jan. 1933, pp. 6-7.
B32 "Ellen." The New Yorker, 4 March 1933, pp. 15-16. NTAH; MCS. See CS and B445.
B33 "An Old Quarrel," The Atlantic, May 1933, pp. 555-58. Rpt. trans. Zhao Jisheng ("Wang Ri De Zheng Chao") in Waiguo Wenxue [Beijing], No. 10(1981), pp. 27-29. NTAH ("An Old Quarrel"); MCS. See B452.
B34 "Mr. and Mrs. Fairbanks." Harper's Bazaar, Sept. 1933, pp. 87, 129. NTAH; MCS. See B462.
B35 "Northern Summer Twilight." Household Magazine, Sept. 1933, pp. 3, 12, 26.
B36 "Let Me Promise You." Esquire, Autumn 1933, pp. 15, 86. NTAH; MCS.
B37 "The Bride." The New Yorker, 23 Sept. 1933, pp. 22-24. Rpt. (revised--"A Question of Sharing") in Woman's Own, 7 Sept. 1963, pp. 43-44, 47-NTAH; MCS.
B38 "A Separation." Scribner's Magazine, Nov. 1933, pp. 280-83. NTAH.
B39 "The Relected One." The New Yorker, 9 Dec. 1933, pp. 23-25. NTAH; MCS. See C583 (Now That April's Here).
B40 "The Bridegroom." Esquire, Jan. 1934, pp. 62, 102.
B41 "Who Is My Neighbour?". Esquire, Feb. 1934, pp. 59, 108, 112. Rpt. trans. Wolfgang von Einsiedel ("Zwel Manner angeln") in Neu Amerika: Zwanzzg Erzahler der Gegenwart. Ed. and introd. Kurt Ullrich. Berlin: S. Fischer Verlag, 1937, pp. 293-306. Rpt. in Die neue Rundschau, 48, Pt. II, No. 10 (Oct. 1937), 356-65. Rpt. trans. Walter Riedel ("Die beiden Angler") in Moderne Erzahler der Welt: Kanada. Ed. Institut for Auslandsbeziehungen, Stuttgart. Selected Walter Riedel. Tubingen: Horst Erdmann Verlag, 1976, pp. 157-66. Rpt. trans. Yi Chenfeng ("Liangge Diaoyu Ren") in Dangdai Waiguo Wenxue [Nanjing], No. 1 (1982), pp. 42-45. NTAH ("Two Fishermen"); MCS. See CS and B440.
B42 "Timothy Harshaw's Flute." The New Yorker, 10 Feb. 1934, pp. 17-19. NTAH; MCS. See B420 and B456.
B43 "One Spring Night." The New Yorker, 14 April 1934, pp. 21-24. Rpt. in Senior Scholastic, 14 May 1945, pp. 26, 28, 33-34. NTAH; MCS. See B459.
B44 "The Girl Who Was Easy." Esquire, May 1934, pp. 38, 159-60, 162.
B45 "Father and Son." Harper's Bazaar, June 1934, pp. 62-63, 106, 108, 110. NTAH; MCS. See CS, B446, and C590.
B46 "She's Nothing to Me." Story, 4, No. 23 (June 1934), 17-23.
B47 "Three Lovers." Harper's Bazaar, July 1934, pp. 50-51, 101-04. NTAH.
B48 "The Snob." The New Yorker, 7 July 1934, pp. 15-17. Rpt. in Senior Scholastic, 13 March 1937, pp. 3-4, 27. Rpt. trans. Lan Renzhe ("Shi Li Yan") in Waiguo Wenxue [Beijing], No. 10 (1981), pp. 22-24. NTAH ("The Snob"); MCS. See CS and B435.
B49 "The Runaway." Esquire, Sept. 1934, pp. 26-27, 120, 123. NTAH; MCS.
B50 "The Duel." The New Yorker, 22 Sept. 1934, pp. 21-22. NTAH; MCS. See B452.
B51 "The Two Brothers." Esquire, Dec. 1934, pp. 31, 101-02. NTAH; MCS.
B52 "The Intellectual." Literary America, 2, No. 3 (March 1935), 223-27.
B53 "Possession." Esquire, April 1935, pp. 30, 148-49. NTAH.
B54 "The Blue Kimono." Harper's Bazaar, May 1935, pp. 152, 154, 188. NTAH; MCS. See CS and B436.
B55 "Rigmarole." Story, 6, No. 35 (June 1935), 87-92. Rpt. trans. Kurt Wagenseil ("Geplankel") in Der Standpunkt, No. I (Jan. 1947), pp. 31-34. NTAH ("Rigmarole"); MCS. See CS, B439, and C589.
B56 "All the Years of Her Life." The New Yorker, 8 June 1935, pp. 17-19. Rpt. in Parent's Magazine, Aug. 1965, pp. 50, 52, 129-30. Rpt. trans. [Gerard Michon?] ("Alle jaren van haar leven") in Vier van Cees Nooteboom en anderen. Avenue-reeks, No. 2. Amsterdam: Geillustreerde Pers, 1967, pp. 45-54. Rpt. trans. Shinpei Tokiwa ("Haha no seikatsu no seigetsu") in New Yorker Tanpenshu II: 38 Short Stories from The New Yorker. Tokyo: Hayakawa Shobo, 1969, pp. 75-82. Rpt. ("All the Years of Her Life") in Scholastic Scope, 4 Nov. 1976, pp. 11-13. NTAH; MCS. See CS and B435.
B57 "The Shining Red Apple." The New Yorker, 30 Nov. 1935, pp. 21-22. NTAH; MCS. See CS and B439.
B58 "It Must Be Different!". Redbook, Feb. 1936, pp. 26-27, 76-77. NTAH; MCS.
B59 "In the Big Town." Esquire, April 1936, pp. 40-41.
B60 "The Voyage Out." The New Yorker, 27 June 1936, pp. 15-17. MCS. See B455.
B61 "An Enemy of the People." Scribner's Magazine, Sept. 1936, pp. 139-41.
B62 "Watching and Waiting." Redbook, Sept. 1936, pp. 48-49, 80. MCS. See B453.
B63 "Their Mother's Purse." The New Yorker, 12 Sept. 1936, pp. 15-16. Rpt. trans. Lan Renzhe ("Mu Qin De Qian Bao") in Waiguo Wenxue [Beijing], No. 10 (1981), pp. 25-26. MCS ("Their Mother's Purse"). See CS and B434.
B64 "A Pair of Long Pants." Redbook, Oct. 1936, pp. 36-37, 118-19. Rpt. in John O'London's Weekly, 22 Jan. 1937, pp. 685-86.
B65 "The Fiddler on Twenty-Third Street." John O'London's Weekly, 23 Oct. 1936, pp. 149-50. Rpt. in Maclean's, 15 Dec. 1936, pp. 6-17, 34.
B66 "Rendezvous with Self." Esquire, March 1937, pp. 46, 191.
B67 "This Man, My Father." Maclean's, 15 March 1937, pp. 15, 58, 60.
B68 "Evening in Madison Square." Esquire, June 1937, pp. 56, 188, 190.
B69 "The Homing Pigeon." Harper's Bazaar, June 1937, pp. 76-77, 129-30. MCS. See CS and B447.
B70 "A Little Beaded Bag." Harper's Bazaar, 1 Sept. 1937, pp. 69, 149.
B71 "The Cheat's Remorse." Esquire, Oct. 1937, pp. 75, 164. Rpt. trans. V. Obukhov and A. Berg ("Zhrebii")in Molodezh Gruzii [Tbilisi], 4 March 1967, n. pag. Rpt. trans. L. Dymov (excerpt--"Odin dollar") in Literaturnaia Rossiia [Moscow], 23 Dec. 1977, p. 15. MCS ("The Cheat's Remorse"). See B458.
B72 "A Night Out." Household Magazine, Oct. 1937, pp. 44, 14-15.
B73 "A Boy Grows Older." Esquire, Dec. 1937, pp. 88, 194.
B74 "A Very Merry Christmas." Harper's Bazaar, Dec. 1937, pp. 70-71, 120. MCS. See B422, B461, B539, and C595 ("The Lost Child").
B75 "The Fugitive." The North American Review, 245, No. 2 (Summer 1938), 330-39.
B76 "The Consuming Fire." Harper's Bazaar, Aug. 1938, pp. 76, 126-27.
B77 "The White Pony." The New Yorker, 27 Aug. 1938, pp. 18-19. MCS. See CS and B436.
B78 "It Had to Be Done." Harper's Bazaar, 1 Sept. 1938, pp. 91, 120. MCS. See B462.
B79 "The Sentimentalists." Harper's Bazaar, Nov. 1938, pp. 90, 133.
B80 "The New Coat." Esquire, Dec. 1938, pp. 66, 208, 210.
B81 "Getting On in the World." American Mercury, May 1939, pp. 43-48. MCS.See B455.
B82 "The Thing That Happened to Uncle Adolphe." John O'London's Weekly, 3 Nov. 1939, pp. 125-26.
B83 "Hello America!". John O'London's Weekly, 26 July 1940, pp. 461-62.
B84 "Big Jules." Yale Review, 30, No. I (Sept. 1940), 150-57.
B85 "Very Special Shoes." Story, 22, No. 100 (March-April 1943), 53-56. MCS. See B457 and C588.
B86 "The Importance of Henry Bowman." Good Housekeeping, Jan. 1945, pp. 39, 76.
B87 "Lilacs for Catherine." Seventeen, June 1946, pp. 9o-91, 195-97.
B88 "Night of the Fire." Cosmopolitan, Sept. 1946, pp. 44-45, 130-34.
B89 "Luke Baldwin's Vow." Saturday Evening Post, 15 March 1947, pp. 30-31, 156, 158, 160. Rpt. (condensed- "Luke Baldwin Makes a Deal") in Reader's Digest [Canada], Oct. 1981, pp. 75-78. Rpt. trans. Liu Chizi ("Xiaoxiao Wushi Jia") in Dangdai Waiguo Wenxue [Nanjing], No. 1 (1982), pp. 46-50, 125. LBV (revised--Chs. xiii-xv); MCS ("The Little Business Man"). See CS and B442.
B90 "I knew him when...' " American Magazine, April 1947, pp. 34-35, 148-52.
B91 "The Mexican Bracelets." Maclean's, 15 April 1947, pp. 24, 45-48.
B92 "This Man Couldn't Find a Fresh Angle on Xmas, but He Did Find Peace and Goodwill." New World [Toronto], Dec. 1947, pp. 26-28, 31.
B93 "With an Air of Dignity." Maclean's, 15 Jan. 1948, pp. 10-11, 29-32.
B94 "All Right, Flatfoot." Maclean's, 15 Aug. 1948, pp. 13, 26-27.
B95 "All the Doors Were Open." National Home Monthly, Sept. 1948, pp. 18-19, 28-29.
B96 "The Indulgent Lady." Mademoiselle, Nov. 1948, pp. 132-33, 206-11.
B97 "One Stormy Night." National Home Monthly, Dec. 1948, pp. 12-13, 24-25.
B98 "The Bachelor's Dilemma?' Maclean's, I Aug. 1950, pp. 24-25. Rpt. in Saturday Night, I Aug. 1950, pp. 18-19. Rpt. in Time [Canada], 21 Aug. 1950, pp. 30-31. Rpt. in Toronto Dally Star, 19 Dec. 1959, p. 28. The 1950 printings appear as advertising by the Canadian Bank of Commerce "because [they] liked it"; reprinted without advertising in 1959. See B571.
B99 "On the Edge of a World." Esquire, Jan. 1951, p. 106.
B100 "Magic Hat." Redbook, Dec. 1951, pp. 42-43, 70, 72-73. MCS. See C591.
B101 "A Cap for Steve." Esquire, July 1952, pp. 34, 109-11. Rpt. trans. Hildegard Jany ("Die blaue Kappe") in Westermanns Monatshefte, 94, No. 3 (1953-54), pp. 5-8. MCS ("A Cap for Steve"). See CS and B437.
B102 "Keep Away from Laura." Maclean's, 1 Nov. 1952, pp. 12-13.
B103 "The Way It Ended." Canadian Home Journal, Sept. 1953, pp. 13, 34-35, 39.
B104 "Something for Nothing." Canadian Home Journal, May 1954, pp. 18-19, 26-29.
B105 "We Just Had to Be Alone." Maclean's, 5 March 1955, pp. 18-19, 59-61.
B106 "The Man with the Coat." Maclean's, 16 April 1955, pp. 11-19, 81-94, 100, l02-19. MCC (revised, expanded).
B107 "The Doctor's Son." In Ten for Wednesday Night: A Collection of Short Stories Presented for Broadcast by CBC Wednesday Night. Ed. Robert Weaver. Toronto: McClelland and Stewart, 961, pp. 95-104.
B108 "The Meterman, Caliban, and Then Mr. Jones." Exile, I, No. 3 (1973), 124-57. Possibly an episode from the unpublished novel, "Thumbs Down on Julien Jones" (B470-B473, C291). Note, too, the similarities of character and incident in Chs. v-viii and x of the novella, "The Enchanted Pimp," NMM. Theatrical adaptation produced under the title, "And Then Mr. Jones" (B567). See C347 for a review.
B109 "From The Stepping Stone." Exile, 6, Nos. 1-2 (1979), 216-52. NMM (revised, excerpt -- "The Enchanted Pimp"). A "reworking and further development" of Chs. vt, xn, and xni of "The Enchanted Pimp," NMM. The "novel is now called The Stepping Stone."
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
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- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Excerpts
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- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Excerpts
Kendle, Judith (compiler)
Bll0 "The Novice." The Canadian Magazine, March 1930, pp. 11, 31-32. BJ (revised--Ch. ii).
B111 "The Young Priest." The New Yorker, 27 Sept. 1930, pp. 24-27. BJ (revised -- Ch. xii); NTAH; MCS. See B456.
B112 "With Her Own People." Esquire, Aug. 1935, pp. 48, 132, 135. TSIE (revised--Ch. xxi).
B113 "The New Kid." Saturday Evening Post, II Sept. 1948, pp. 28-29, 150, 152, 154, 156, 158. LBV (revised--Chs. xi and xii).
B114 "Scastija Znajdes Na Nebi." Trans. M. Dmytrenko, V. Korobko, and I. Lescenko. Vsesvit [Kiev], Aug. 1962, pp. 3-49. ISZNN (expanded).
B115 "In the Dark and the Light of Lisa: Chapters One, Two and Three." Exile, I, No. I (1972), 14-39. FPP (revised--Chs. ii-vi).
B116 "The Shadow between Them." Chatelaine, Aug. 1975, pp. 36, 78-81. FPP (Ch. v0.
Bl17 "Close to the Sun Again." Saturday Night, July-Aug. 1977, pp. 34-38, 43-45. CSA (Chs. i and ii).
B118 "The Look Inside." Toronto Life, Sept. 1977, pp. 46-49. CSA (expanded--Ch. iv).
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
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Record: 112- Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Reprinted anthology contributions: A selection
- Other Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Reprinted anthology contributions: A selection
Kendle, Judith (compiler)
Note: Callaghan's inclusion for fourteen consecutive years (1928-41) in Edward J. O'Brien's annual series, The Best Short Stories .... has been noted in the Awards and Honours section of the bibliography (see C536). Collections which include excerpts from his letters, speeches, or articles, in addition to a story or stories, are listed elsewhere in Section B, under the original entry for the material, while mention is made in Section C of a story's inclusion in a college textbook or high school anthology also containing significant critical commentary. One additional category of anthologies not fully represented here are those which might for want of a better term be called "popular" collections -- volumes, usually American in origin, bearing titles such as Thicker than Water: Stories of Family Life (1939), Tales for Males (1945), or Teen-Age Dog Stories (1949). Readers interested in this phenomenon should consult the Short Story Index and the Chicorel indexes to the short story.
B119 "Last Spring They Came Over." In Canadian Short Stories. Ed. Raymond Knister. Toronto: Macmillan, 1928, pp. 3-13. Rpt. in Canadian Short Stories. Ed. Raymond Knister. Short Story Index [Facsimile] Reprint Series. Freeport, N.Y.: Books for Libraries, 1971, pp. 3-13.
B120 "A Wedding Dress." In Present-Day American Stories. New York: Scribners, 1929, pp. 127-39.
B121 "A Sick Call." In Yearbook of the Arts in Canada, 1936. Ed. Bertram Brooker. Toronto: Macmillan, 1936, pp. 115-22.
B122 "The Faithful Wife." In 50 Best American Short Stories, 1915-1939. Ed. Edward J. O'Brien. New York: Literary Guild of America, 1939, pp. 383-88.
B123 "All the Years of Her Life." In Short Stories from The New Yorker. New York: Simon and Schuster, 1940, pp. 187-92.
B124 "Let Me Promise You." In Bedside Esquire. Ed. Arnold Gingrich. New York: McBride, 1940, pp. 363-68.
B125 "A Wedding-Dress." In Present-Day Stories. Ed. John T. Frederick. New York: Scribners, 1941, pp. 48-54.
B126 "A Predicament," "A Sick Call," and "The Young Priest." In Great Modern Catholic Short Stories. Ed. Mariella Gable. New York: Sheed and Ward, 1942, pp. 30l-05,355-64, 250-58.
B127 "Two Fishermen." In Canadian Accent: A Collection of Stories and Poems by Contemporary Writers from Canada. Ed. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1944, pp. 15-22.
B128 "The Rejected One." In A Pocketful of Canada. Ed. John D. Robins. Toronto: Collins, 1946, pp. 268-73.
B129 "Father and Son." In A Book of Canadian Stories. Ed. and introd. Desmond Pacey. Toronto: Ryerson, 1947, pp. 238-50.
B130 "A Sick Call." In A World of Great Stories. Ed. Hiram Haydn and John Cournos. New York: Crown, 1947, pp. 249-54.
B131 "All the Years of Her Life." In Stories of Our Century by Catholic Authors. Ed. John Gilland Bruninil and Francis X. Connolly. Philadelphia: Lippincott, 1949, pp. 23-29.
B132 "Very Special Shoes." In Story: The Fiction of the Forties. Ed. Whit Burnett and Hallie Burnett. New York: Dutton, 1949, pp. 341-46.
B133 "An Escapade," "Two Fishermen," and "The Shining Red Apple." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 1st ed. Toronto: Gage, 1955, pp. 325-37.
B134 "Rigmarole." In Cavalcade of the North. Ed. George E. Nelson. New York: Doubleday, 1958, pp. 191-95.
B135 "Last Spring They Came Over" and "A Sick Call." In Canadian Short Stones. Ed. and introd. Robert Weaver. World's Classics, No. 573. London: Oxford Univ. Press, 1960, pp. 156-76.
B136 "The Faithful Wife." In Fifty Best American Short Stories, 1915-1965. Ed. Martha Foley. Boston: Houghton Mifflin, 1965, pp. 82-86.
B137 "Last Spring They Came Over." In English Short Stories of Today. 3rd. set. Ed. T.S. Dorsch. London: Oxford Univ. Press, 1965, pp. 180-88.
B138 "Rigmarole." In Story Magazine: Story Jubilee. Ed. Whit Burnett and Hallie Burnett. Garden City, N.Y.: Doubleday, 1965, pp. 113-17.
B139 "The Blue Kimono." In Variations on the Human Theme. Ed. George Woodcock. Toronto: Ryerson, 1966, pp. 43-50.
B140 "The Cheat's Remorse," "A Sick Call," and "Two Fishermen." In Modern Canadian Stories. Ed. Giose Rimanelli and Roberto Ruberto. Toronto: Ryerson, 1966, pp. 73-95.
B141 The Loved and the Lost [excerpt--Ch. xx] and "A Sick Call." In Great Canadian Writing: A Century of Imagination. Ed. Claude Bissell. Toronto: Weekend Magazlne/McClelland and Stewart, 1966, pp. 47, 71-73.
B142 "It Must Be Different." In Canadian Winter's Tales. Ed. Norman Levine. Toronto: Macmillan, 1968, pp. 46-53.
B143 "Rocking-Chair." In The Story-Makers: A Selection of Modern Short Stories. Ed. Rudy Wiebe. Toronto: Macmillan, 1970, pp. 165-71.
B144 "One Spring Night." In Great Canadian Short Stories: An Anthology. Ed. and introd. Alec Lucas. Laurel. New York: Dell, 1971, pp. 89-95.
B145 "A Wedding Dress." In Four Hemispheres: An Anthology of English Short Stories from around the World. Ed. W.H. New. Toronto: Copp Clark, 1971, pp. 157-61.
B146 "Let Me Promise You." In Contemporary Voices: The Short Story in Canada. Ed. Donald Stephens. Scarborough, Ont.: Prentice-Hall, 1972, pp. 3-7.
B147 "An Old Quarrel." In Kaleidoscope: Canadian Stories. Ed. John Metcalf. Toronto: Van Nostrand Reinhold, 1972, pp. 126-31.
B148 "Ancient Lineage," "A Predicament," and That Summer in Paris [excerpts-- Chs. xiv and xviii]). In The Canadian Century: English-Canadian Writing since Confederation [Vol. II of The Book of Canadian Prose]. Ed. A. J. M. Smith. Toronto: Gage, 1973, pp. 300-13.
B149 "The Boxing Match" [TSP, Ch. xxvi] and "Two Fishermen." In The Oxford Anthology of Canadian Literature. Ed. Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 36-48.
B150 "Boxing Match with Hemingway" (TSP, Ch. xv). In Canadian Literature: Two Centuries in Prose. Ed. Brita Mickelburgh. Toronto: McClelland and Stewart, 1973, pp. 262-67.
B151 "A Cap for Steve," "A Girl with Ambition," and "The Young Priest." In The Evolution of Canadian Literature in English 1914-1945. Ed. George L. Parker. Toronto: Holt, Rinehart and Winston, 1973, pp. 175-92.
B152 They Shall Inherit the Earth [Ch. xxv]. In Marked By the Wild: An Anthology of Literature Shaped by the Canadian Wilderness. Ed. Bruce Litteljohn and Jon Pearce. Toronto: McClelland and Stewart, 1973, pp. 162-73.
B153 "Ancient Lineage" and "Last Spring They Came Over." In Stories from Ontario. Ed. Germame Warkentin. Toronto: Macmillan, 1974, pp. 47-55, 198-204.
B154 "Now That April's Here." In Selections from Major Canadian Writers: Poetry and Creative Prose in English. Ed. Desmond Pacey. Toronto: McGraw-Hill Ryerson, 1974, pp. 188-93.
B155 "Getting On in the World." In Modern Canadian Stories. Ed. John Stevens. Toronto: Bantam, 1975, pp. 39-46.
B156 "Two Fishermen." In Modern Stories in English. Ed. William H. New and H. J. Rosengarten. Toronto: Copp Clark Pitman, 1975, pp. 32-39. The instructor's manual accompanying this volume includes commentary and questions on the story, pages 6-7.
B157 "The Blue Kimono." In The Depression in Canadian Literature. Ed. Alice K. Hale and Sheda A. Brooks. Themes in Canadian Literature Series. Toronto: Macmillan, 1976, pp. 17-24. Also includes two questions on the story, page III.
B158 "The Bride." In Women in Canadian Literature. Ed. M. G. Hesse. Otawa: Borealis, 1976, pp. 100-03.
B159 "A Wedding-Dress." In Toronto Short Stories. Ed. Morris Wolfe and Douglas Daymond. Toronto: Doubleday, 1977, pp. 134-39.
B160 "Ancient Lineage." In Literature in Canada. Ed. Douglas Daymond and Leslie Monkman. Toronto: Gage, 1978. Vol. II, 124-28.
B16l "A Wedding-Dress." In The Best Modern Canadian Short Stories. Ed. Ivon Owen and Morris Wolfe. Edmonton: Hurtig, 1978, pp. 175-79.
B162 "A Cap for Steve." In Great Canadian Sports Stories. Ed. George Bowering. Ottawa: Oberon, 1979, pp. 57-69.
B163 "A Cap for Steve." In The Penguin Book of Canadian Short Stories. Ed. Wayne Grady. Harmondsworth, Eng.: Penguin, 1980, pp. 27-36.
B164 "Metaphor and Cezanne's Apples" (TSP, excerpts -- Chs. ii and xviii). In Canadian Novelists and the Novel. Ed. Douglas Daymond and Leslie Monkman. Ottawa: Borealis, 1981, pp. 143-46.
B165 "The Runaway." In The Oxford Book of Short Stories. Ed. V. S. Pritchett. London: Oxford Univ. Press, 1981, pp. 381-90.
B166 "The Snob." In Best Canadian Short Stories. Ed. John Stevens. Seal Books. Toronto: McClelland and Stewart-Bantam, 1981, pp. 91-96.
B167 "The Bachelor's Dilemma." In A Canadian Yuletide Treasury. Toronto: Clarke, Irwin, 1981, pp. 110-12.
B168 "Last Spring They Came Over." In Introduction to Fiction. Ed. Jack David and Robert Lecker. Toronto: Holt, Rinehart and Winston, 1981, pp. 111-14.
B169 "A Predicament," "Now That April's Here," and "Watching and Waiting." In An Anthology of Canadian Literature in English. Ed. Russell Brown and Donna Bennett. Vol. I. Toronto: Oxford Univ. Press, 1982, 383-96.
B170 "A Very Merry Christmas." In Modern Short Stories 2: 1940-1980. Ed. Giles Gordon. London: Dent, 1982, pp. 57-62.
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
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Kendle, Judith (compiler)
B171 "Season of the Witch: A Play in Three Acts." Exile, 2, Nos. 3-4 (1975), 141-243. SW (revised).
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
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- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Articles
- Other Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
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Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Articles
Kendle, Judith (compiler)
B172 "A Windy Corner at Yonge-Albert." Toronto Star Weekly [Toronto Daily Star], 6 Aug. 1911, p. 17.
B173 "The Literary Club." The Yearbook [of] St. Michael's College, 14 (1913), 51. Signed: "M.C."
B174 "Radical 'Bill' Foster Urges Labor Revolt." Toronto Daily Star, 7 Aug. 1923, p. 5. Unsigned article.
B175 "Wipe Out Craft Unionism, States 'Most Dangerous Red.'" Toronto Daily Star, 7 Aug. 1923, p. 8. Unsigned article. See Ch. ii, TSP, for the story behind this article.
B176 "The Literary Club." The Yearbook [of] St. Michael's College, 15 (1914), 73. Signed: "M.C."
B177 "Tragedies--Unless You Laugh." Toronto Star Weekly [Toronto Daily Star], 5 March 1917, p. 21.
B178 "The Real Greenwich Village." Toronto Star Weekly [Toronto Daily Star], 23 July 1917, p. 19.
B179 "A Negro City Bigger than Imperial Rome!" Toronto Star Weekly [Toronto Daily Star], 24 Sept. 1928, p. 2l.
B180 "Looking at Native Prose." Saturday Night, I Dec. 1928, Sec. Literary, p. 3.
B181 "Can One Explain?". In Creating the Short Story: A Symposium Anthology. Ed. Henry Goodman. New York: Harcourt, Brace, 1929, p. 108. Also includes a reprint of his story, "A Girl with Ambition," pages 109-20.
B182 "A Gentleman from out of the Past." Toronto Star Weekly [Toronto Daily Star], 26 Oct. 1929, Sec. Gen. No. I, p. 7.
B183 "Box Fighting as She Is Made in Paris." Toronto Star Weekly [Toronto Daily Star], 16 Nov. 1929, Sec. Gen. No. I, p. 3.
B184 "The University of Toronto." College Humor, Feb. 1930, pp. 44-45, 109-11.
B185 "So I Ups to Him." Toronto Star Weekly [Toronto Daily Star], 28 March 1931, Sec. Gen. No. 2, pp. 1,4.
B186 "Playing Tennis with Michael Arlen." Toronto Star Weekly [Toronto Daily Star], 2 May 1931, Sec. Gen. No. 2, p. 4.
B187 "One Day in Cork." Toronto Star Weekly [Toronto Daily Star], 20 June 1931, Sec. Gen. No. I, p. 7.
B188 "An Important Conversation." Toronto Star Weekly [Toronto Daily Star], 4 July 1931, Sec. Gen. No. I, p. 5.
B189 "The Past Quarter Century." Maclean's, 15 March 1936, pp. 36, 38.
B190 "A Criticism." New Frontier, I, No. I (April 1936), 24.
B191 "Where I Stand On Spain." New Frontier, I, No. 8 (Dec. I936), 13-16. Rpt. (excerpt -- "Strange Masks") The Varsity [Univ. of Toronto], 24 Nov. 1936, p. 2. The New Frontier article is a collection of statements by various public figures; Callaghan's appears on page 14. The Varsity (regardless of the dates noted) reprints Callaghan's statement alone.
B192 "The Plight of Canadian Fiction." University of Toronto Quarterly, 7 (Jan. 1938), 152-61. Rpt. (excerpt) in Canadian Novelists and the Novel. Ed. Douglas Daymond and Leslie Monkman. Ottawa: Borealis, 198i, pp. 146-50.
B193 "The Death of a Revolutionary." Saturday Night, 8 July 1939, p. 20.
B194 "Little Marxist, What Now?". Saturday Night, 16 Sept. 1939, p. 24.
B195 "The Power of Darkness." Saturday Night, 7 Oct. 1939, p. 24.
B196 "If Civilization Must Be Saved." Saturday Night, 26 Dec. 1939, p. 6.
B197 "Heywood Broun." The Canadian Forum, Feb. 1940, p. 351.
B198 "Guerilla Warfare in Hockey." New World [Toronto], March 1940, pp. 48, 52.
B199 "The Admirable Apps." New World [Toronto], April 1940, pp. 13-15.
B200 "Watching the Workouts." New World [Toronto], May 1940, pp. 8-11.
B201 "By the Blue Algoma Hills." Vogue, 1 June 1940, pp. 62, 65.
B202 "Stable Stuff." New World [Toronto], June 1940, pp. 12-15.
B203 "Fast and Loose." New World [Toronto], July 1940, pp. 12-15.
B204 "Advice to Fathers." New World [Toronto], Aug. 1940, pp. 38-39.
B205 "Out in the Open." New World [Toronto], Sept. 1940, pp. 41-43.
B206 "Yes, It's Cricket." New World [Toronto], Oct. 1940, pp. 40-41.
B207 "From a Seat in the Sun." New World [Toronto], Nov. 1940, pp. 58-60.
B208 "The Cream of the Jest." New World [Toronto], Dec. 1940, pp. 40-41, 52.
B209 "Stanowski -- The Totem Pole." New World [Toronto], Jan. 1941, pp. 46-47.
B210 "That Man's Here Again." New World [Toronto], Feb. 1941, pp. 26-27.
B211 "Even if You Can't Ski." New World [Toronto], March 1941, pp. 46-47, 56.
B212 "In These Times." New World [Toronto], April 1941, pp. 52-53, 56.
B213 "The Man from Montreal." New World [Toronto], May 1941, pp. 46-47, 55.
B214 "The Man Who Loved Horses." New World [Toronto], June 1941, pp. 59-60.
B215 "The Brooklyn Rhapsody." New World [Toronto], July 1941, pp. 24-25, 56.
B216 "The Collapsible Amateurs." New World [Toronto], Aug. 1941, pp. 52-54.
B217 "Picture-Book Pitcher." New World [Toronto], Sept. 1941, pp. 54-55.
B218 "Great Expectations." New World [Toronto], Oct. 1941, pp. 68-69, 72.
B219 "Hockey at the Whipping Post." New World [Toronto], Nov. 1941, pp. 52-53.
B220 "Alert and Smartly Tailored." New World [Toronto], Dec. 1941, pp. 66-68.
B221 "Happy Day Is Here Again." New World [Toronto], Jan. 1942, pp. 52-53, 60.
B222 "Women and Wrestlers." New World [Toronto], Feb. 1942, pp. 44-45, 48.
B223 "The Cauliflower Dignitary." New World [Toronto], March 1942, pp. 46-47.
B224 "From the Goal Out." New World [Toronto], April 1942, pp. 48-49.
B225 "Everybody's Alley." New World [Toronto], May 1942, pp. 48-49.
B226 "Colour Blind." New World [Toronto], June 1942, p. 40.
B227 "In the Years of the Locusts." New World [Toronto], July 1942, p. 47.
B228 "Sport on the Waterfront." New World [Toronto], Aug. 1942, pp. 42-44.
B229 "At Night in the Field." New World [Toronto], Sept. 1942, pp. 38-40.
B230 "A Sporting Establishment." New World [Toronto], Oct. 1942, pp. 54-56. A fragment only; page 56 of the article was inadvertently omitted.
B231 "Man versus Machine." New World [Toronto], Nov. 1942, pp. 54-57.
B232 "The Hurricanes Are Their Targets." New World [Toronto], Dec. 1942, pp. 54-55.
B233 "What Is Sport?". New World [Toronto], Jan. 1943, pp. 52-53, 57.
B234 "The Game That Makes a Nation." New World [Toronto], Feb. 1943, p. 35.
B235 "Pros & Cons." New World [Toronto], March 1943, pp. 54-55.
B236 "Union Station." Maclean's, 25 March 1943, pp. 13, 52-53.
B237 "Cornda de Toros." New World [Toronto], April 1943, pp. 32-33, 58.
B238 "A Sporting Gentleman." New World [Toronto], May 1943, p. 56.
B239 "It's Always the Team!". New World [Toronto], June 1943, p. 54.
B240 "Things to Come." New World [Toronto], July 1943, p. 40.
B241 "Our Puritan Cities." New World [Toronto], Sept. 1943, pp. 28-29.
B242 "Friends of Quebec." New World [Toronto], Oct. 1943, pp. 22-23.
B243 "The Brains' Club: Men Who Mould Public Opinion in Canada," New World [Toronto], Nov. 1943, p. 45.
B244 "Are We Undisciplined?". New World [Toronto], Dec. 1943, pp. 44-45.
B245 Preface. In This Is Canada. Ed. Donald Buchanan. Toronto: Ryerson, 1944, n. pag. [4 pp.]
B246 "In His Image." New World [Toronto], Jan. 1944, p. 57.
B247 "Those Men in the Black Hombourgs [sic]." New World [Toronto], Feb. 1944, pp. 36-37.
B248 "Those Men of Action." New World [Toronto], March 1944, p. 37.
B249 "A Woman Waits for Me." New World [Toronto], April 1944, pp. 44-45.
B250 "My War against Women." New World [Toronto], May i944, pp. 36-37.
B251 "Of Things to Come." New Advance, May 1944, pp. i-3. Rpt. (excerpt -- "Citizens' Forum") in Spirit of Canadian Democracy: A Collection of Canadian Writings from the Beginnings to the Present Day. Ed. Margaret Fairley. Toronto: Progress, n.d. [1945], p. 252.
B252 "The Democratic Voice." New World [Toronto], June 1944, pp. 44-45.
B253 "The Corpse in the Parlour." New World [Toronto], July 1944, p. 48.
B254 "Who Hit Us on the Head?". New World [Toronto], Aug. 1944, pp. 48-49.
B255 "The Politician as a Hero." New World [Toronto], Sept. 1944, pp. 36-37.
B256 "Love in Canada." New World [Toronto], Oct. 1944, pp. 52-53.
B257 "How Old Is a Woman?". New World [Toronto], Nov. 1944, pp. 52, 55.
B258 "The Secret of Christmas." New World [Toronto], Dec. 1944, pp. 16-17.
B259 "A Certain Kind of Woman." New World [Toronto], Jan. 1945, pp. 44-45.
B260 "How to Become a Great Man in Canada." New World [Toronto], Feb. 1945, pp. 36-37.
B261 "A New Kind of Democracy." New World [Toronto], March 1945, pp. 27-28.
B262 "They're Swell Gals but Shy on Mystery." New World [Toronto], April 1945, pp. 36-37.
B263 "Postwar May Usher in Debunkers Again." New World [Toronto], May 1945, pp. 50-51.
B264 "Why Don't Canadians Laugh?". New World [Toronto], June 1945, pp. 37-38.
B265 "What Men Hope They Are Shows Up in Their Moustaches." New World [Toronto], July 1945, pp. 36-37.
B266 "Young Suffer War's Aftermath." New World [Toronto], Aug. 1945, pp. 29-30.
B267 "The Case of the Tall and Determined Girl." New World [Toronto], Sept. 1945, pp. 23-24.
B268 "What Makes a Shirt Stuffed?". New World [Toronto], Oct. 1945, pp. 35, 37.
B269 "Justice for All . . . Charity for None." New World [Toronto], Nov. 1945, pp. 39, 41.
B270 "Christmas Is Full of Golden Corn." New World [Toronto], Dec. 1945, pp. 34-35.
B271 "Boom, Violence, Mark Post-War Manhattan." New World [Toronto], Jan. 1946, pp. 14-15.
B272 "Canada Puzzles the Stranger." New World [Toronto], Feb. 1946, pp. 29-30.
B273 "Even Idleness Is Now Regimented." New World [Toronto], March 1946, pp. 22, 24-25.
B274 "The Censors Are Smiling at Last." New World [Toronto], April 1946, pp. 31, 33.
B275 "A Dilemma for the Dissenters." New World [Toronto], May 1946, pp. 45-47.
B276 "Too Much Tolerance Dangerous Thing." New World [Toronto], June 1946, pp. 35, 39.
B277 "Our Heroes Are Being Neglected." New World [Toronto], July 1946, pp. 35-36.
B278 "True Love Blooms in Hollywood?". New World [Toronto], Aug. 1946, pp. 27, 31.
B279 "Canada: Land of Lonely People." New World [Toronto], Sept. 1946, pp. 28, 31.
B280 "Our Popular Songs Have a Philosophy behind the Words and Music That May Amaze Some People." New World [Toronto], Oct. 1946, pp. 49-51.
B281 "What's Left for Men of Goodwill Who Learn That a Political Band Wagon Is No Dreamboat?" New World [Toronto], Nov. 1946, pp. 45-46, 49.
B282 "The Case of the Man Who Had His Own Pet Formula for 'how a family should be brought up.'" New World [Toronto], Dec 1946, pp. 38, 41.
B283 "What about Our Reputation as Cold and Distant in the Light of the New Fashion in National Manner?". New World [Toronto], Jan. 1947, pp. 26-27.
B284 "The Man Who Solved the Riddle Why Anyone Who Doesn't Have to Continues to Live in Toronto." New World [Toronto], Feb. 1947, pp. 28-29. Rpt. ("Why Toronto?") in Our Sense of Identity: A Book of Canadian Essays. Ed. and introd. Malcolm Ross. Toronto: Ryerson, 1954, pp. 119-23. Rpt. (revised -- "How Can a Writer Live in Toronto?") in Canada: A Guide to the Peaceable Kingdom. Ed. William Kilbourn. Toronto: Macmillan, 1970, pp. 312-14. Rpt. (revised--"My Tiger City") in The Toronto Book: An Anthology of Writings Past and Present. Ed. William Kilbourn. Toronto: Macmillan, 1976, pp. 198-201.
B285 "Montreal Cafe Team Have a Secret for Their Success. . .They Make a Habit of Being Themselves." New World [Toronto], March 1947, pp. 30-31, 33.
B286 "What's Behind This Strange Frenzy That Seizes Our Solid Citizens at Junior Hockey Play-Off Time?". New World [Toronto], April 1947, pp. 44-46.
B287 "Are We on the Eve of a New Era? Look What Happened after the End of the First World War." New World [Toronto], May 1947, pp. 34, 36, 38.
B288 "Does the True Canadian Lead a Respectable, Colorless Life, Clinging to a Dream He Can't Express?". New World [Toronto], June 1947, pp. 43, 45.
B289 "Maybe We're All Making Too Much of a Fuss These Days about Our Teen-Agers and Their Problems?". New World [Toronto], July 1947, pp. 36-37.
B290 "Do the New Hemlines Herald a Major Depression as They Did in the Late Twenties?". New World [Toronto], Aug. 1947, pp. 32-33.
B291 "'The Person with Real Talent Needs to Have a Better Break These Days in This Broad Land of Ours." New World [Toronto], Sept. 1947, pp. 30, 33-34.
B292 "The Woman behind Lucille Ball." New World [Toronto], Oct. 1947, pp. 32-34, 37.
B293 "Skirt Lengths or Philosophies--A Fickle Fashion Dictates the Style Changes for Them Both." New World [Toronto], Nov. 1947, pp. 32, 34, 36.
B294 "What Makes Us Afraid of New Year's Eve?" New World [Toronto], Jan. 1948, pp. 28-29.
B295 "Which Comes First: Love or Money?". New World [Toronto], Feb.-March 1948, pp. 23-25, 32.
B296 "The Kinsey Report." National Home Monthly, June 1948, pp. 32-33.
B297 "Canadian Clubwomen." National Home Monthly, July 1948, pp. 26-27.
B298 "I Like the Town." National Home Monthly, Aug. 1948, p. 12.
B299 "What I Like About Montreal." National Home Monthly, Nov. 1948, pp. 32.-37.
B300 "We Are All Delinquents." National Home Monthly, Feb. 1949, pp. 16, 30.
B301 "Television -- The Monster." National Home Monthly, March 1949, pp. 16, 38-39.
B302 "Love at Forty." National Home Monthly, April 1949, pp. 20-21.
B303 "We Are a Nation of Old Women." National Home Monthly, May 1949, pp. 18-19.
B304 "Politics Make Men Blind." National Home Monthly, June 1949, pp. 5-6.
B305 "Which Myth Do You Follow?". National Home Monthly, July 1949, pp. 2-3.
B306 "How to Be a Superior Person." National Home Monthly, Aug. 1949, pp. 2, 4.
B307 "How to Talk to High-Brows." National Home Monthly, Sept. 1949, pp. 24-25.
B308 "Return of Vaudeville." National Home Monthly, Oct. 1949, pp. 4, 6.
B309 "A Very Deserving Case." National Home Monthly, Dec. 1949, pp. 20-22.
B310 "Do English Women Have the Best Manners?". National Home Monthly, Jan. 1950, pp. 18, 29.
B311 "Slick Love or True?". National Home Monthly, Feb. 1950, pp. 2-3.
B312 "The Five Canadas." United Nations World, July 1950, pp. 74-76.
B313 "It Was News in Paris--Not in Toronto." Saturday Night, 5 June 1951, pp. 8, 17-18.
B314 "University of Toronto." Holiday, March 1953, pp. 75-76, 78, 80, 82, 84-85.
B315 "Writers and Critics: A Minor League." Saturday Night, 6 Nov. 1954, pp. 7-8.
B316 "The Ontario Story: Paradox of Progress." Saturday Night, 12 Nov. 1954, pp. 7-8.
B317 "Censorship: The Amateurs and the Law." Saturday Night, 4 Feb. 1956, pp. 9-10.
B318 "Why Shouldn't We Be like the Americans?". Maclean's, 23 June 1956, pp. 6, 81-82.
B319 "Canada's Creeping 'Me Too' Sickness." Saturday Night, 13 April 1957, pp. 18-19, 38.
B320 "We're on the Wrong Track in Our Culture Quest." Maclean's, 25 May i957, pp. 8, 86-87.
B321 "Let's Go Easy on the U.S.A," Maclean's, 7 June 1958, pp. 13-14, 57-58.
B322 "Holiday Weekend in Montreal." Maclean's, 30 Aug. 1958, pp. 13-15, 42-44.
B323 "I Saw Pius 12 Brought Home." Toronto Star Weekly [Toronto Dally Star], 15 Nov. 1958, pp. 10-13, 50. First of two parts.
B324 "Look the Smoke Is White." Toronto Star Weekly [Toronto Daily Star], 22 Nov. 1958, pp. 28-30, 32, 52. Second of two parts.
B325 "Why Single Out Sex as the Only Real Road to Sin?". Maclean's, 2 Jan. 1960, pp. 6, 32-33.
B326 "My Home Town." Toronto Star Weekly [Toronto Daily Star], 14 July 1962, pp. 6-11.
B327 "An Ocean Away." Times Literary Supplement, 4 June 1964, p. 493. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 17-23.
B328 "The Pleasures of Failure." Maclean's, 6 March 1965, pp. 12-13, 34, 37.
B329 "New Faces That Belong Here." In Ontario: The Place, the People and the Potential. Ed. Elizabeth Cattley and Frank Moritsugu. Toronto: Ontario Department of Trade and Development, Special Projects and Planning Branch, 1969, pp. 62, 64-65. Rpt. Toronto: Ontario Department of Trade and Development, 1975, pp. 62, 64-65. This volume was originally written and edited in English, but French, German, and Japanese versions were produced for the Osaka Exposition in 1970.
B330 "Don't Write Everything." The Telegram [Toronto], 9 July 1969, Sec. 3, p. 5.
B331 "Author's Commentary." In Sixteen by Twelve: Short Stories by Canadian Writers. Ed. John Metcalf. Toronto: Ryerson, 1970, pp. 19-21. Callaghan comments on the genesis of his stories, "All the Years of Her Life" and "A Sick Call," reprinted here, pages 8-12 and 12-18 respectively. Also includes an excerpt from his speech of acceptance on receipt of the Royal Bank Award, 15 June 1970.
B332 "Morley Callaghan Revisited." The Telegram [Toronto], 21 March 1970, p. 57. Untitled article "By Morley Callaghan" under the above headline: reflections on Toronto, writing, and mass "communicators."
B333 "Solzhenitsyn." The Tamarack Review, No. 55 (Third Quarter 1970), pp. 71-76.
B334 "Discovering the New in the Old." The Telegram [Toronto], 1 Aug. 1970, Sec. 3, p. 5.
B335 "The Universal and Timeless Hunger for a Story." The Telegram [Toronto], 19 Sept. 1970, Sec. 3, p. 5.
B336 "Of John Dos Passos." The Telegram [Toronto], 31 Oct. 1970, p. 32.
B337 "I Mourn the Death of the Dirty Word." The Telegram [Toronto], 26 Dec. 1970, p. 32.
B338 "'A Classic Is a Story You Remember.'" The Telegram [Toronto], 20 March 1971, p. 33.
B339 "Canada: 'Always a new beauty in its changing face.'" Toronto Star, 30 Dec. 1972, p. 15.
B340 Tribute to Robert Weaver. In "Bob Weaver Has Lots of Friends." Performing Arts in Canada, 10, No. 3 (Fall 1973), 15.
B341 "James T. Farrell: A Tribute." Twentieth Century Literature, 22, No. I (Feb. 1976), 26-27.
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
Item Number: ABCMA05MCP1000005001002005
Record: 115- Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Reviews
- Other Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
p. 40-42 (3 p.) - Links:
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Reviews
Kendle, Judith (compiler)
B342. "Introducing Ernest Hemingway." Rev. of In Our Time and The Torrents of Spring, by Ernest Hemingway. Saturday Night, 7 Aug. 1926, pp. 7-8.
B343 "Ford: Of Many Models." Rev. of Some Do Not, No More Parades, A Man Could Stand Up, and The Last Post, by Ford Madox Ford. Saturday Night, 12 May 1928, p. 9.
B344 "Impressive Short Stories." Rev. of Children and Fools, by Thomas Mann. Saturday Night, 23 June 1928, pp. 8-9.
B345 "England and America." Rev. of The Battle of the Horizons, by Sylvia Thompson. Saturday Night, 28 July 1928, p. 9.
B346 "The Soul of a Killer." Rev. of The Assassin, by Liam O'Flaherty. Saturday Night, 8 Sept. 1928, p. 8.
B347 "America Rediscovered." Rev. of A Voyage to Pagany, by William Carlos Williams. New York Herald Tribune Books, 7 Oct. 1928, p. 4.
B348 "Breaking New Ground." Rev. of Orlando, by Virginia Woolf. Saturday Night, 29 Dec. 1928, p. 8.
B349 "Lyrical Realism." Rev. of The Wanderer, by Alain Fournier. Saturday Night, 5 Jan. 1929, p. 8.
B350 "An Irish Playwright." Rev. of Plays by Lennox Robinson. Saturday Night, 19 Jan. 1929, pp. 8-9.
B351 "The People Underfoot." Rev. of Thus and Thus, by Henri Barbusse. Saturday Night, 23 March 1929, p. 8.
B352 "Novel and Diary." Rev. of From Day to Day, by Ferdynand Goetel. Saturday Night, 22 Aug. 1931, p. 7.
B353 "French Childhood." Rev. of Trott and His Little Sister, by Andre Lichtenberger. Saturday Night, 26 Sept. 1931, p. 9.
B354 "An Extraordinary Novel." Rev. of Alexanderplatz, Berlin: The Story of Franz Biberkopf, by Alfred Doblin, trans. Eugene Jolas. Saturday Night, 10 Oct. 1931, Autumn Lit. Supp., pp. 2, 9.
B355 "Royal Intrigue." Rev. of Ambition, by Bernhard Guttman, trans. Ludwig Lewisohn. Saturday Night, 17 Oct. 1931, pp. 8-9.
B356 "The War Years." Rev. of 1929, by John Dos Passos. Saturday Night, 9 April 1932, Spring Lit. Supp., pp. 4, 15.
B357 "Short Stories." Rev. of The Best Short Stortes of 1932, ed. Edward J. O'Brien. Saturday Night, 8 Oct. 1932, Autumn Lit. Supp., pp. 12-13.
B358 "Jew in the Cities." Rev. of Three Cities, by Sholem Asch. Saturday Night, 2 Dec. 1933, Christmas Lit. Supp., pp. 1, 14.
B359 "Jews in Germany." Rev. of The Oppermanns, by Lion Feuchtwanger. Saturday Night, 14 April 1934, Spring Lit. Supp., pp. 3, 11.
B360 "Jewish Community." Rev. of Salvatlon, by Sholem Asch. Saturday Night, 20 Oct. 1934, Autumn Lit. Supp., pp. 3, 8.
B361 "Lost Generation." Rev. of We Accept with Pleasure, by Bernard De Voto. Saturday Night, 22 Dec. 1934, p. 8.
B362 "Mother and Son." Rev. of Main Line West, by Paul Horgan. Saturday Night, 25 April 1936, Spring Lit. Supp., p. 4.
B363 "Dreaming Girl." Rev. of April, by Vardis Fisher. Saturday Night, 17 April 1937, Spring Lit. Supp., p. 5.
B364 "An Epic of Ireland." Rev. of Famine, by Liam O'Flaherty. Saturday Night, 23 Oct. 1937, Autumn Lit. Supp., p. 4.
B365 "Mail-Order House." Rev. of The Chute, by Albert Halper. Saturday Night, 4 Dec. 1937, Christmas Lit. Supp., p. 4.
B366 "Ends and Means and Aldous Huxley." Rev. of Ends and Means, by Aldous Huxley. The Canadian Forum, March 1938, pp. 422-23.
B367 "Cape Code [sic] Mystery." Rev. of The Sound of Rowlocks, by William Daniel Steele. Saturday Night, 9 April 1938, Spring Lit. Supp., p. 4.
B368 "Civil War Story." Rev. of The Unvanquished, by William Faulkner. Saturday Night, 14 May 1938, p. 15.
B369 "Superior Storms." Rev. of Novellas, ed. Whit Burnett and Martha Foley. Saturday Night, 6 July 1938, p. 8.
B370 "Honesty of Purpose." Rev. of Tales of New Zealanders, ed. C. R. Allen. Saturday Night, 23 July 1938, p. 6.
B371 "Why Germans Act That Way." Rev. of Wolf Among Wolves, by Hans Fallada. Saturday Night, 10 Dec. 1938, p. 24.
B372 "Faulkner Riddle Is Solved." Rev. of The Wild Palms, by William Faulkner. Saturday Night, 28 Jan. 1939, p. 20.
B373 "Woman's Life." Rev. of Lucien, by Vivian Parsons. Saturday Night, 4 March 1939, p. 18.
B374 "Human Stampede." Rev. of The Grapes of Wrath, by John Steinbeck. Saturday Night, 22 April 939, p. 21.
B375 "Into the Dream World." Rev. of Finnegans Wake, by James Joyce. Saturday Night, 27 May 1939, p. 21.
B376 "In Search of Humanity." Rev. of Adventures of a Young Man, by John Dos Passos. Saturday Night, 1 July 1939, p. 17.
B377 "Thomas Wolfe's Appetite for Life." Rev. of The Web and the Rock, by Thomas Wolfe. Saturday Night, 15 July 1939, p. 8.
B378 "Heart of the Working Man." Rev. of Christ in Concrete, by Pietro Di Donato. Saturday Night, 21 Oct. 1939, p. 21.
B379 "The Life of a Chinese Family." Rev. of Moment in Pekin, by Lin Yutang; and The Chinese Novel, by Pearl Buck. Saturday Night, 2 Dec. 1939, p. 13.
B380 "The Lamentable Thirties." Rev. of Decade, by Stephen Longstreet. Saturday Night, 23 March 1940, p. 8.
B381 "Negro Crime and Punishment." Rev. of Native Son, by Richard Wright. Saturday Night, 6 April 1940, p. 9.
B382 "That Day in Chicago." Rev. of Citizens, by Meyer Levine. Saturday Nzght, 4 May 1940, p. 8.
B383 "Faulkner's Fabulous World." Rev. of The Hamlet, by William Faulkner. Saturday Nzght, 11 May 1940, p. 9.
B384 "Nostalgia." Rev. of The Last Time I Saw Parts, by Elliot Paul. The Canadian Forum, July 1942, pp. 123-24.
B385 "A Sensitive Traveler's Subtle Look at Eternal Italy." Rev. of Beyond the Alps: A Summer in the Italian Hill Towns, by Robert M. Coates. New York Herald Tribune Books, 3 Dec. 1961, p. 3.
B386 "Poor in Paris, No Disgrace." Rev. of Lee Among the Surrealists: A Memoir, by Matthew Josephson. New York Herald Tribune Books, 4 Feb. 1962, p. 6.
B387 "The Paradise That Never Was." Rev. of The Letters of F. Scott Fitzgerald, ed. Andrew Turnbull. Book Week, 20 Oct. 1963, pp. I, 26.
B388 "The Way It Was." Rev. of A Moveable Feast, by Ernest Hemingway. The Spectator [London, Eng.], 22 May 1964, p. 696.
B389 "Legends of the Old Man." Rev. of Notes from a Sea Diary: Hemingway All the Way, by Nelson Algren; and Hemingway: An Old Friend Remembers, by Jed Kiley. Saturday Review, 28 Aug. 1965, p. 43.
B390 "With Love and Learning from Scott." Rev. of A College of One, by Sheila Graham. The Telegram [Toronto], 4 March 967, p. 24.
B391 "Bemused, One Asks: Was This Fitzgerald?". Rev. of F. Scott Fitzgerald, The Last Laocoon, by Robert Sklar. The Telegram [Toronto], 15 July 1967, p. 21.
B392 "One of the Most Admirable, Infuriating, Contemptuous, Generous, Malicious, Interesting, Insulting, Unbudgeable Men of His Time." Rev. of Being Geniuses Together, by Robert McAlmon. The Telegram [Toronto], 29 June 1968, p. 31.
B393 "Loveless Monsters against the Jackboot." Rev. of To the End of the World, by Blaise Cendrars; and The Swallower Swallowed, by Rejean Ducharme. The Telegram [Toronto], 31 Aug. 1968, p. 5.
B394 "Hemingway's Nonfiction." Rev. of Hemingway's Nonfiction: The Public Voice, by Robert O. Stephens. The New York Times Book Review, 12 Jan. 1969, p. 32. Rpt. ("Hemingway His Own Adversary") in The Telegram [Toronto], 25 Jan. 1969, Sec. 3, p. 5.
B395 "Everything He Wrote Seemed Real." Rev. of Ernest Hemingway" Selected Letters, 1917-1961, ed. Carlos Baker. The Washington Post Book World, 29 March 1981, pp. 1-2, 6.
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
Item Number: ABCMA05MCP1000005001002006
Record: 116- Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Memoirs
- Other Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
p. 43 (1 p.) - Links:
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Memoirs
Kendle, Judith (compiler)
B396 "Those Summers in Toronto; Episodes from Morley Callaghan's New Book That Summer in Paris." Maclean's, 5 Jan. 1963, pp. 25-27, 37-40. TSP (expanded -- Chs. I-viii.
B397 "Fitzgerald's Paris." Saturday Review, II March 1967, pp. 50, 82, 84. TSP (expanded - Ch. xiv, Ch. xviii, Ch. xxiii, and Ch. xxvii).
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
Item Number: ABCMA05MCP1000005001002007
Record: 117- Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Miscellaneous
- Other Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
p. 43 (1 p.) - Links:
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Miscellaneous
Kendle, Judith (compiler)
B398 "Winter-Season of Magic." Reader's Digest, Feb. 1975, pp. 165-70, 172, 174-76. Win. (expanded).
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
Item Number: ABCMA05MCP1000005001002008
Record: 118- Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Speeches
- Other Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
p. 43 (1 p.) - Links:
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- Database:
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Speeches
Kendle, Judith (compiler)
B399 "Novelist." Canadian Writers' Conference. Queen's Univ., Kingston, Ont. 28-31 July 1955. Printed in Writing in Canada: Proceedings of the Canadian Writers' Conference, Queen's University, 28-31 July, 1955. Ed. George Whalley. Toronto: Macmillan, 1956, pp. 24-32.
B400 "The Imaginative Writer." Convocation Address. Univ. of Toronto, Toronto. 3 June 1960. Printed in The Tamarack Review, No. 41 (Autumn 1966), pp. 5-11. On receipt of an honorary doctorate.
B401 "The Pilgrim Soul of the Prodigal Son." Acceptance Speech on Receipt of the Royal Bank Award. Royal York Hotel, Toronto. 15 June 1970. The Telegram [Toronto], 20 June 1970, Sec. 3, p. 2. Rpt. (excerpt -- "An Excerpt from Morley Callaghan's Speech of Acceptance on Receiving the Royal Bank Award, June 15, 1970") in Sixteen by Twelve: Short Stories by Canadian Writers. Ed. John Metcalf. Toronto: Ryerson, 1970, pp. 20-21.
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
Item Number: ABCMA05MCP1000005001002009
Record: 119- Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Letters
- Other Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
p. 43 (1 p.) - Links:
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Letters
Kendle, Judith (compiler)
B402 Letter (excerpt) to I[sabel]. M. P[aterson]. In her column, "Turns with a Bookworm," New York Herald Tribune Books, 8 Dec. 1929, p. 29. TSP (expanded--Ch. xxviii).
B403 "Morley Callaghan: Why He Selected 'Two Fishermen.'" In This Is My Best. Ed. Whit Burnett. New York: Dial, 1942, p. 98. Rpt. ("Author's Comment") in Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, p. 285. Callaghan's letter is dated 9 August 1942 in the Burnett anthology.
B404 Letter. 2 Feb. 1950. In The World's Best. Ed. Whit Burnett. New York: Dial, 1950, p. 333.
B405 Letter (excerpt). In Tigers of the Snow. Ed. James A. MacNeill and Glen A. Sorestad. Toronto: Nelson, 1973, p. 97.
B406 Letter to F. Scott Fitzgerald. In Correspondence of F. Scott Fitzgerald. Ed. Matthew J. Bruccoli and Margaret M. Duggan. With the Assistance of Susan Walker. New York: Random House, 1980, pp. 228-29. Bruccoli and Duggan date the letter as "June (?) 1929." See also C436.
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
Item Number: ABCMA05MCP1000005001002010
Record: 120- Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Radio contributions
- Other Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
p. 43-51 (9 p.) - Links:
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- Database:
- Canadian Literary Centre
Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Radio contributions
Kendle, Judith (compiler)
Note: Although Callaghan's work in this medium has been extensive, the official record of his activities is incomplete. CBC Program Archives, 90 Sumach St., Toronto, maintain and continue to compile an extensive card catalogue (phonography) of their archival holdings, but there is a sizeable backlog in their listings for the late '40s, much of the '50s, and 1969 to 1971. Sean Francis Berrigan's research essay, "Anthology: Catalogue and Index 1954-1974. With a Critical Introduction" (C497), supplements the main CBC catalogue to some extent. The entries which follow are based on these two catalogues.
B407 Contributor. "The Arts Grow Up." CBC Radio, 3 Jan. 1943. (30 min.)
B408 Panel Member. Of Things to Come. Inquiry into the Post-War World. CBC Radio, 28 Feb. 1943. (30 min.)
B409 Panel Member. Of Things to Come. Inquiry into the Post-War World. CBC Radio, 7 March 1943. (30 min.)
B410 Panel Member. Of Things to Come. Inquiry into the Post-War World. CBC Radio, 11 April 1943. (30 min.)
B411 Panel Member. Of Things to Come. Inquiry into the Post-War World. CBC Radio, 25 April 1943. (15 min.) Fragment only.
B412 Panel Member. Of Things to Come. Inquiry into the Post-War World. CBC Radio, 23 May 1943. (30 min.)
B413 Chairman. "The People on the Land: The Farmers' Future." CBC Radio, 18 April 1944. (30 min.)
B414 Chairman. "Who Shapes the Future?". CBC Radio, 25 April 1944. (30 min.)
B415 Chairman. "Action Now: How the People Can Make Their Power Felt." CBC Radio, 2 May 1944.(30 min.)
B416 Talk. Arts & Letters. cBc Radio [International Service], 3 June 1948.
B417 Contributor. Anthology. CBC Radio, 12. April 1955. Callaghan takes part in a discussion on Canadian writing along with Malcolm Ross and A. J. M. Smith.
B418 Contributor. Anthology. CBC Radio, 6 Nov. 1956. Callaghan takes part in a discussion on English- and French-language theatre along with Douglas Campbell and Mayor Moore.
B419 "Readings by Morley Callaghan from His Short Stories: 'A Wedding Dress.'" CBC Wednesday Night. CBC Radio, 10 July 1957. See NTHA, MCS, and B4.
B420 "Readings by Morley Callaghan from His Short Stories: 'Timothy Harshaw's Flute.'" CBC Wednesday Night. CBC Radio, 17 July 1957. See NTAH, MCS, and B456.
B421 "Readings by Morley Callaghan from His Short Stories: 'The Red Hat.'" CBC Wednesday Night. CBC Radio, 24 July 1957. See NTAH, MCS, CS, B22, and B445.
B422 "A Very Merry Christmas." Anthology. CBC Radio, 24 Dec. 1957. See MCS, B74, B461, B539, and C595 ("The Lost Child").
B423 Commentator. Federal Election Broadcast. CBC Radio, 31 March 1958.
B424 Contributor. Anthology. CBC Radio, 1 May 1959. Callaghan takes part in a discussion on experimental book publishing in Canada, along with Robert Weaver and Jack McClelland.
B425 Contributor. Anthology. CBC Radio, 15 May 1959. Callaghan takes part in a discussion about the Canada Council, along with Alan Jarvis, Robert Elie, and Alan Phllips.
B426 Contributor and Guest. Anthology. CBC Radio, 16 Oct. 1959. Callaghan and Robert Weaver discuss the publication of Callaghan's Morley Callaghan's Stories.
B427 "A Predicament." Narr. Morley Callaghan. Anthology. CBC Radio, 16 Oct. 1959. Rebroadcast. 19 Feb. 1983. The rebroadcast also includes a profile of Callaghan (C495). See also NA, MCS, CS, B9, B434 and C597.
B428 Guest. Audio. CBC Radio, 19 March 1962.
B429 Panelist. Now I Ask You. CBC Radio, 17 Oct. 1964. Panel includes Morley Callaghan, James Bannerman, Ralph Allen, and Tommy Tweed, sitting in for James McGeachy.
B430 Panelist. Now I Ask You. CBC Radio, 31 Oct. 1964. Panel includes James McGeachy, Morley Callaghan, James Bannerman, and Ralph Allen.
B431 Panelist. Now I Ask You. CBC Radio, 19 Feb. 1966. Panel includes Morley Callaghan, James Bannerman, Ralph Allen, and guest, Hugh Garner. Ronald Hambleton is chairman.
B432 Panelist. Now I Ask You. CBC Radio, 2 April 1966. Panel includes Morley Callaghan, James Bannerman, Ralph Allen, and guest, Clyde Gilmour.
B433 Panelist. Speaking of Books. CBC Radio, 5 June 1966.
B434 "A Predicament" and "Their Mother's Purse." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 5 Jan. 1967. (30 min.) CS. Includes comments and informal introductions. See NA, MCS, B9, B63, B427, C495, and C597.
B435 "All the Years of Her Life" and "The Snob." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 12 Jan. 1967. (30 min.) CS. Includes comments and informal introductions. See NTAH, MCS, B48, and B56.
B436 "The Blue Kimono" and "The White Pony." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 19 Jan. 1967. (30 min.) CS. Includes comments and informal introductions. See NTAH, MCS, B54 and B77.
B437 "A Cap for Steve." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 26 Jan. 1967. (30 min.) CS. Includes comments and an informal introduction. See MCS and B101.
B438 "The Faithful Wife" and "Absolution." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 2 Feb. 1967. (30 min.) CS. Includes comments and informal introductions. See NTAH, MCS, BI7, and B23.
B439 "The Shining Red Apple" and "Rigmarole." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 9 Feb. 1967. (30 min.) CS. Includes comments and informal introductions. See NTAH, MCS, B55, B57, and C589.
B440 "Two Fishermen." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 16 Feb. 1967. (30 min.) CS. Includes comments and an informal introduction. See NTAH, MCS, and B41 ("Who Is My Neighbour?").
B441 Panelist. Now I Ask You. CBC Radio, 18 Feb. 1967. Panel includes Mavor Moore, James Bannerman, Morley Callaghan, and Rev. Ernest Howse. Ronald Hambleton is moderator.
B442 "The Little Business Man." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 23 Feb. 1967. (30 min.) CS. Includes comments and an informal introduction. See LBV (revised -- Chs. xiii-xv), MCS, and B89 ("Luke Baldwin's Vow").
B443 "A Sick Call" and "Lunch Counter." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 2 March 1967. (30 min.) CS. Includes comments and informal introductions. See NTAH, MCS, B20, B27, and C583 (Now That April's Here).
B444 "Last Spring They Came Over." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 9 March 1967. (30 min.) CS. Includes comments and an informal introduction. See NA, MCS, and B5.
B445 "The Red Hat" and "Ellen." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 16 March 1967. (30 min.) CS. Includes comments and informal introductions. See NTAH, MCS, B22, B32, and B421.
B446 "Father and Son." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 30 March 1967. (30 min.) CS. Includes comments and an informal introduction. See NTAH, MCS, B45, and C590.
B447 "The Homing Pigeon." Narr. Morley Callaghan. Prod. Terence Gibbs. Anthology. CBC Radio, 6 April 1967. (30 min.) CS. Includes comments and an informal introduction. See MCS, and B69.
B448 Panelist. Now I Ask You. CBC Radio, 1 July 1967. Panel includes James Bannerman, Morley Callaghan, Joseph Schull, and guest, Mark Napier. Ronald Hambleton is moderator.
B449 Contributor. "A Portrait of B. K. Sandwell." CBC Tuesday Night. CBC Radio, 25 July 1967.
B450 Contributor. "Slitkin and Slotkin." Between Ourselves, CBC Radio, 1 May 1968. Program on the Montreal nightclub of the 1940s, a watering-hole for newsmen, wrestlers, boxers, and gangsters. Callaghan is one of those who recall their association with the nightclub, its owners, and clientele.
B451 "A Country Passion." Narr. Morley Callaghan. Anthology. CBC Radio, 5 Oct. 1968. (30 min.) See NA, MCS, and B7.
B452 "An Old Quarrel" and "The Duel." Narr. Morley Callaghan. Anthology. CBC Radio, 12 Oct. 1968.(30 min.) See NTAH, MCS, B33, and B50.
B453 "Watching and Waiting" and "Day by Day." Narr. Morley Callaghan. Anthology. CBC Radio, 19 Oct. 1968. (30 min.) See NTAH, MCS, B26, and B62.
B454 "A Cocky Young Man." Narr. Morley Callaghan. Anthology. CBC Radio, 26 Oct. 1968. (30 min.) See NA and MCS.
B455 "The Voyage Out" and "Getting On in the World." Narr. Morley Callaghan. Anthology. CBC Radio, 9 Nov. 1968. (30 min.) See MCS, B60, and B81.
B456 "The Young Priest" and "Timothy Harshaw's Flute." Narr. Morley Callaghan. Anthology. CBC Radio, 16 Nov. 1968. (30 min.) See BJ (revised--Ch. xii), NTAH, MCS, B42, BIII ("The Young Priest"), and B420.
B457 "Ancient Lineage" and "Very Special Shoes." Narr. Morley Callaghan. Anthology. CBC Radio, 23 Nov. 1968. (30 min.) See NA, MCS, B8, B85, and C588.
B458 "The Cheat's Remorse" and "The Rocking Chair." Narr. Morley Callaghan. Anthology. CBC Radio, 30 Nov. 1968. (30 min.) See NTAH, MCS, B29, B71, and C583 (Now That April's Here).
B459 "Guilty Woman" and "One Spring Night." Narr. Morley Callaghan. Anthology. CBC Radio, 7 Dec. 1968. (30 min.) See NTAH, MCS, B30, and B43.
B460 "Soldier Harmon." Narr. Morley Callaghan. Anthology. CBC Radio, 14 Dec. 1968. (30 min.) See NA, MCS, and BH.
B461 "Younger Brother" and "A Very Merry Christmas." Narr. Morley Callaghan. Anthology. CBC Radio, 21 Dec. 1968. (30 min.) See NTAH, MCS, B21, B74, B422, B539, and C595 ("The Lost Child").
B462 "Mr. and Mrs. Fairbanks" and "It Had to Be Done." Narr. Morley Callaghan. Anthology. CBC Radio, 4 Jan. 1969. (30 min.) See NTAH, MCS, B34, and B78.
B463 Interview with James T. Farrell. Anthology. CBC Radio, 3 Jan. 1970.
B464 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 24 Jan. 1970.
B465 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 21 Feb. 1970.
B466 Monthly Talk on Books and Bookmen. Anthology. C8C Radio, 14 March 1970.
B467 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 18 April 1970.
B468 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 23 May 1970.
B469 Monthly Talk on Books and Bookmen. Anthology. C8C Radio, 30 May 1970.
B470 "Thumbs Down on Julien Jones." Narr. Morley Callaghan. Anthology. CBC Radio, 6 June 1970. Part I of four excerpts from his unpublished novel.
B471 "Thumbs Down on Julien Jones." Narr. Morley Callaghan. Anthology. CBC Radio, 13 June 1970. Part II of four excerpts from his unpublished novel.
B472 "Thumbs Down on Julien Jones." Narr. Morley Callaghan. Anthology. CBC Radio, 20 June 1970. Part II of four excerpts from his unpublished novel.
B473 "Thumbs Down on Julien Jones." Narr. Morley Callaghan. Anthology. CBC Radio, 27 June 1970. Part IV of four excerpts from his unpublished novel.
B474 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 18 July 1970.
B475 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 15 Aug. 1970.
B476 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 12 Sept. 1970.
B477 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 17 Oct. 1970.
B478 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 21 Nov. 1970.
B479 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 12 Dec. 1970.
B480 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 23 Jan. 1971.
B481 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 13 Feb. 1971.
B482 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 13 March 1971.
B483 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 17 April 1971.
B484 Monthly Talk on Books and Bookmen. Anthology. CBC Radio. 15 May 1971.
B485 Monthly Talk on Books and Bookmen. Anthology. CBC Radio 19 June 1971.
B486 Monthly Talk on Books and Bookmen. Anthology. CBC Radio 17 July 1971.
B487 Monthly Talk on Books and Bookmen. Anthology. CBC Radio 21 Aug. 1971.
B488 Monthly Talk on Books and Bookmen. Anthology. CBC Radio 11 Sept. 1971.
B489 Monthly Talk on Books and Bookmen. Anthology. CBC Radio. 16 Oct. 1971.
B490 Monthly Talk on Books and Bookmen. Anthology. CBC Radio 13 Nov. 1971.
B491 Monthly Talk on Books and Bookmen. Anthology. CBC Radio II Dec. 1971.
B492 Monthly Talk on Books and Bookmen. Anthology. CBC Radio 22 Jan. 1972.
B493 Rev. of The Painted Bird, by Jerzy Kosinski. Anthology. CBC Radio, 12 Feb. 1972.
B494 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, II March 1972.
B495 "Helen." Narr. Morley Callaghan. Anthology. CBC Radio, 1 July 1972. Unpublished short story.
B496 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 15 July 1972.
B497 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 12 Aug. 1972.
B498 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 9 Sept. 1972.
B499 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 21 Oct. 1972.
B500 Contributor. CBC Tuesday Night. CBC Radio, 24 Oct. 1972. William Ronald, Morley Callaghan, and Budd Schulberg, taped in New York after the Muhammad All-Floyd Patterson boxing match, discuss boxing, boxers, and the attraction boxing has for writers. Callaghan gives his version of the infamous Callaghan-Hemingway fight, refereed by F. Scott Fitzgerald, in Paris in 1929.
B501 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, II Nov. 1972.
B502 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 9 Dec. 1972.
B503 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 20 Jan. 1973.
B504 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 17 Feb. 1973.
B505 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 17 March 1973.
B506 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 14 April 1973.
B507 Contributor. "Edmund Wilson, A Portrait in Memoriam." Comp. Barry Callaghan. Anthology. CBC Radio, 5 May 1973.
B508 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 12 May 1973.
B509 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 16 June 1973.
B510 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 14 July 1973.
B511 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 11 Aug. 1973.
B512 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 15 Sept. 1973.
B513 Rev. of The Book of Eve, by Constance Beresford-Howe. Anthology. CBC Radio, 13 Oct. 1973.
B514 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 10 Nov. 1973.
B515 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 8 Dec. 1973.
B516 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 12 Jan. 1974.
B517 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 9 Feb. 1974.
B518 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 16 March 1974.
B519 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 13 April 1974.
B520 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, II May 1974.
B521 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 15 June I974.
B522 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 13 July 1974.
B523 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 17 Aug. 1974.
B524 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 14 Sept. 1974.
B525 Guest. Cross-Country Check-Up. CBC Radio, 15 Sept. 1974. Callaghan contributes to a program on cultural nationalism.
B526 "Pans Revisited." Narr. Morley Callaghan. Radio International. Host Harry Mantas. Prod. Doug MacDonald. CBC Radio, II Oct. 1974.
B527 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 12 Oct. 1974.
B528 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 9 Nov. 1974.
B529 Winter (excerpts). Narr. Morley Callaghan. Anthology. CBC Radio, 21 Dec. 1974. Win. (expanded).
B530 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, II Jan. 1975.
B531 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 8 Feb. 1975.
B532 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 8 March 1975.
B533 Monthly Talk on Books and Bookmen. Anthology. CBC Radio, 12 April 1975.
B534 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 17 Jan. 1981. Rebroadcast 18 July 1981.
B535 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 12 Sept. 1981.
B536 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 10 Oct. 1981.
B537 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 14 Nov. 1981.
B538 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannnis. CBC Radio, 12 Dec. 1981.
B539 "A Very Merry Christmas." Narr. William Hutt. The Entertainers. CBC-FM Radio, 19 Dec. 1981. Rebroadcast CBC Radio, 20 Dec. 1981. Rebroadcast CBC-FM Radio, 25 Dec. 1982. Rebroadcast CBC Radio, 26 Dec. 1982. See MCS, B74, B422, B461, and C595 ("The Lost Child").
B540 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 9 Jan. 1982.
B541 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, Feb. 1982.
B542 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 13 March 1982.
B543 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 10 April 1982.
B544 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 8 May 1982.
B545 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 12 June 1982.
B546 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mantas. CBC Radio, 10 July 1982.
B547 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 14 Aug. 1982.
B548 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 11 Sept. 1982.
B549 Contributor. "The Untold Story of Canadian Writing Abroad." Prepared William French. Anthology. Host Harry Mannis. CBCc Radio, 25 Sept. 1982. Poet Irving Layton, short story writer Alice Munro, novelists Margaret Atwood and Morley Callaghan, David Staines of the University of Ottawa, and Naim Kattan of The Canada Council are questioned about the international acceptance of Canada's best writers.
B550 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 9 Oct. 1982.
B551 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 13 Nov. 1982.
B552 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 8 Jan. 1983.
B553 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 12 Feb. 1983.
B554 Monthly Talk on Books and Bookmen. Anthology. Host Harry Mannis. CBC Radio, 9 April 1983.
B555 Monthly Talk on Books and Bookmen. Anthology. Host Bronwyn Drainie. CBC Radio, 14 May 1983.
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Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
Item Number: ABCMA05MCP1000005001002011
Record: 121- Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Television contributions
- Other Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 1: Works By Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP1
p. 51-52 (2 p.) - Links:
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- Database:
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Source: Part 1: Works By Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 14-53
Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Television contributions
Kendle, Judith (compiler)
Note: Although Callaghan's contributions in this medium have been numerous, the official record of his activities is incomplete. CBC Program Archives, 90 Sumach St., Toronto, maintain and continue to compile an extensive card catalogue (phonography) of their archival holdings, but there is a sizeable backlog in their listings for much of the '50s, and 1969 to 1971. A second CBC card catalogue located at Program Resource Services, Film House, 22 Front St. W., Toronto, lists several additional items and is also an ongoing compilation. The entries which follow are based on these two catalogues.
B556 Panelist. Fighting Words. CBC TV, 14 Aug. 1955. A panel discussion program with moderator, James Scott. Panel includes Morley Callaghan, Earle Birney, Anthony Frisch, and Arnold Edinborough.
B557 Panelist. Fighting Words. CBC TV, 4 Feb. 1956. A panel discussion program with moderator, Nathan Cohen.
B558 Guest. Tabloid. CBC TV, 3 Oct. 1957. Guests include Elsa Linda Lindt who lectures for the United Nations; magician and impressario, Calamag; Alderman Gloria DeVoe; and authors, Morley Callaghan and Mordecai Richler. Regulars are Joyce Davidson, John O'Leary, Gil Christy, and Percy Saltzman.
B559 Panelist. Fighting Words. CBC TV, 17 Dec. 1957. Panel discussion show with moderator, Nathan Cohen. Fragment only: first half.
B560 Panelist. Fighting Words. CBC TV, 6 June 1961. Panel discussion program with moderator, Nathan Cohen.
B56l "Canadian Writers for Senior High School." National School Telecasts. Part II. CBC TV, 14 Nov. 1961.
B562 Contributor. "A Tale of Three Cities." Camera Canada. Exec. Prod. Thom Benson. CBC TV, 19 Feb. 1962. (60 min.)
B563 Report on the Kidnapping and Murder of Pierre Laporte. CBC Weekend. CBC TV, 18 Oct. 1970. Includes Morley Callaghan, Malcolm Muggeridge, Justice Samuel Freedman, and Professor James Eayrs.
B564 Report on the War Measures Act. CBC Weekend. CBC TV, 25 Oct. 1970. Speakers include Morley Callaghan, Malcolm Muggeridge, Justice Samuel Freedman, and Professor James Eayrs.
B565 Contributor. CBC Weekend. CBC TV, 25 March 1973. Program includes Morley Callaghan discussing the Canadian identity.
B566 Contributor. CBC Weekend. CBC TV, 15 April 1973. Callaghan takes part in a debate on Canadian-American union.
B567 "And Then Mr. Jones." The Play's the Thing. CBC TV, Jan. 1974. Adaptation of "The Meterman, Caliban, and Then Mr. Jones" (B108). See C347 for a review.
B568 Contributor. Barbara Frum. CBC TV, 4 Feb. 1975. Callaghan contributes to an investigative program on the Toronto Daily Star.
B569 Guest. Front Page Challenge. Host Fred Davis. CBC TV, 6 March 1983. Callaghan is one of the mystery guests on the above panel quiz-show and is subsequently interviewed briefly by the panel members. These include Pierre Berton, Betty Kennedy, Gordon Sinclair, and Callaghan's son, Barry.
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Copyright of this work is the property of Toronto, Ontario : ECW Press and its content may not be copied without the copyright holder's expressed written permission except for the print or download capabilities of the retrieval software used for access. This content is intended solely for the use of the individual user.
Source: Kendle, Judith (compiler); . Part 1: Works By Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 14-53 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP1.
Item Number: ABCMA05MCP1000005001002012
Record: 122- Title:
- Part 1 Works by Morley Callaghan; Contributions to periodicals and books (short stories, excerpts, reprinted anthology contributions: A selection, play, articles, reviews, memoirs, miscellaneous, speeches, and letters), radio contributions, television contributions, and audio-visual material; Audio-visual material
- Other Title:
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Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 14-53)
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B570 Hot Ice. Dir. Irving Jacoby. Commentary written by Morley Callaghan. A National Film Board Production, 1940. A black-and-white film about hockey; twenty-one minutes. Callaghan describes his contribution to the film as a minor one, confined simply to "touching up" the script. A revised version of the above, a Sterling Film, 1948, available from the National Film Board, contains material from the original National Film Board production, plus footage from a game between the Toronto Maple Leafs and the New York Rangers. Nine minutes. Neither Callaghan's name, nor Jacoby's, is mentioned in the credits of the latter version. Note: Callaghan did spend the summer of 1942 aboard a Royal Canadian Navy corvette as a script consultant for director Joris Ivens; he doubts, however, that he had very much to do with the finished product, a black-and-white film about the work of the R.C.N. convoy fleets, called Action Stations. The film, a National Film Board production, 1942, is available from the National Film Board; Callaghan's name does not appear in the credits.
B571 "The Bachelor's Dilemma." In Stories for Christmas. Narr. Alan Maitland. Toronto: CBC, 1980. (L.p.; monaural; 4 min., 54 sec.) See B98.
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C1 Ferns, John. A.J.M. Smith. Twayne's World Authors Series, No. 535. Boston: Twayne, 1979. 148 pp. Ferns claims that Smith has been an instrumental poet, critic, and anthologist in the developing tradition of Canadian literature, primarily m the poetic development Ferns surveys Smith's literary career. Ferns's objective "is to determine which of Smith's 122 poems are his best" and he selects ten of these poems as "Smith's main contribution to Canadian poetry in English." Although the sections in Poems: New and Collected are not ordered chronologically, Ferns considers the growth of the poet from section to section and makes little of Smith's chronological development. Ferns concentrates more on Smith as a "religious poet" than as a "metaphysical" who grew into a secular tradition. Smith's nature poetry moves beyond the "Romantic-Victorian harmony with nature" and posits "modern detachment." One of Smith's central concerns is regeneration and the tensions between images of life and death. Ferns dismisses those poems which are "elusive m meaning" as inferior works. Ferns paraphrases many of Smith's critical arguments in Towards a View of Canadian Letters: Selected Critical Essays, 1928-1971 and argues for the importance of these essays in the evaluation and understanding of Canadian poetry. Smith is analytical, historical, and judicial. Smith's work as a literary anthologist was "central" to the definition of Canadian literary tradition, but the tradition is not defined by Ferns, nor are Smith's biases toward the creation of that tradition. Ferns includes a select bibliography of works by and about Smith. One article by E. J. Pratt, "Canadian Poetry -- Past and Present" as attributed to Smith. This book remains the only attempt to discuss Smith's career as a whole and in a comprehensive manner.
C2 Darling, Michael E. A. J. M. Smith: An Annotated Bibliography. Montreal: Vehicule, 1981. 228 pp. A revised and updated version of the second section of Darling's dissertation (C101).
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C95 Beattie, Alexander Munro. "The Advent of Modernism in Canadian Poetry in English, 1912-1940." Diss. Columbia 1957. According to Beattie, "From the outset, A. J. M. Smith was on the right road." By 1927, Smith manifested a profound sympathy with the intellectual ethos of a new epoch. Beattie comments on the early essays "Symbolism in Poetry" and "Hamlet in Modern Dress" as revealing qualities which Smith emphasized in his own writing. The influences most clearly apparent in the early poetry are Sitwellian pastiche, phrasing of Elinor Wylie, later Yeats as twentieth-century Master, Imagist, and Eliot. "Wanted -- Canadian Criticism" provides the criteria of the Modernists: cosmopolitanism, contemporaneity, and intelligence. Smith skeptically rejected the burden of Puritanism and called for a Canadian critical tradition. He was rebuked by Kennedy in "Direction for Canadian Poets." Smith's role in New Provinces is ignored and Beattie avoids the Smith-Sutherland debate. He praises The Book of Canadian Poetry as the best summary of Canadian poetry, although the critical dichotomy proved unfeasible and was later discarded.
C96 Schultz, Gregory Peter. "The Periodical Poetry of A. J. M. Smith, F.R. Scott, Leo Kennedy, A.M. Klein, and Dorothy Livesay, 1925-1950." M.A. Thesis Western Ontario 1957. Although outdated, this work provides an interesting study of the literary contexts of Smith's early poems and some useful bibliographical information. Schultz comments on the influence of Eliot, Frazer, and Marx.
C97 Adelman, Seymour. "Elements of Social Criticism in Canadian Poetry: With Emphasis on the Poetry of F.R. Scott and A.J.M. Smith." M.A. Thesis Montreal 1961. Actually very little emphasis is placed on the poetry of Smith, but a comparative study of the poetry of F. R. Scott and Smith is attempted in the last half of the thesis. Some attention is paid to topics or themes, such as "war," "love," "religion," "politics," and "satire." Smith's religious poetry (always sincere and discerning) reveals a shift to a more critical view of doctrine, but not disbelief. Adelman notes the conflict In his love poetry as a lack of fulfillment characteristic of the dilemma of any contemporary Canadian poet. For Smith, war is viewed as a failure of the individual. He was a skilled satirist, if too few satirical pieces have actually been written.
C98 Stevens, Peter. "The Development of Canadian Poetry between the Wars and Its Reflection of Social Awareness." Diss. Saskatchewan 1968. Although Smith's later work reveals more religious feeling, Stevens interprets the early Imagist poems as springing out of the whole landscape, both natural and social. The main concern for Smith has been the poet's place in society and this has remained a central theme of all Smith's thought.
C99 McCallum, Faye Maureen. "To Capture Proteus: A Study of A.J.M. Smith." M.A. Thesis Queen's 1970. A biographical and thematic study of Smith's poetry with some attention to his essays and Canadian anthologies. McCallum sees Smith's career as a search for a journey through chaos and disorder, a movement from militant criticism to anthologizing. His work tends to fall into a mosaic pattern which defies chronology.
C100 Yates, Ruth Whidden. "A. J. M. Smith: A Chronological Description of His Poetry and Criticism." M.A. Thesis Simon Fraser 1976. Unfortunately, the problem of chronology remains unresolved since the analysis of individual poems is ordered according to a select bibliography of periodicals combined with book publication dates. However, this survey does provide the framework it claims for more comprehensive and contextual studies of Smith's poetry as each chapter deals with a particular stage of Smith's career. The author has incorporated interview materials.
C101 Darling, Michael E. "A Variorum Edition of the Poems of A. J. M. Smith with a Descriptive Bibliography and Reference Grade." Diss. York 1979. "The first section of this study presents a text of the poems of A. J. M. Smith based on the principles embodied in The Variorum Edition of the Poems of W. B. Yeats .... The second section ... consists of a bibliography of Smith's works, divided into two mare parts. Part I is descriptive and enumerative, recording books and pamphlets, first appearance contributions to books, contributions to periodicals, representation in anthologies, and translations .... Part II of the bibliography is an annotated reference grade to criticism of Smith's work, listing books and articles, theses, interviews, poems and parodies in the first half, and book reviews in the second." An extensive, well-researched study. (See C2.)
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C3 "Soldier Poet Inspired by World War." McGill Daily, 3 Dec. 1926, pp. 1, 3. The reviewer quotes extensively from Smith's lecture given on 2 December 1926, entitled "Contemporary Poetry" (B435).
C4 Knister, Raymond. "Canadian Poems of the Month." The New Outlook, 18 May 1927, p. 6. Knister refers to Smith's poetry as "some of the most promising now In evidence in his generation." This short piece represents the first serious commentary on Smith's work.
C5 K[ennedy]., L[eo]. "Prufrock of Montreal, Quebec." The McGilliad, 1, No. 1 (Feb.-March 1931), 87-88. A "hoax" review of the fictitious Twenty-Seven Poems, by A. J. M. Smith, which Kennedy describes as "a narrow lavender-bound first book of poems." Smith's sources, Kennedy notes, include Donne, Eliot, and Yeats.
C6 Sitwell, Edith. Aspects of Modern Poetry. London: Duckworth, 1934. Rpt. St. Clair Shores, Mich.: Scholarly, 1972, pp. 33-34. Sitwell criticizes "Ballade un peu banale" as a "trivial and vulgar little blasphemy" and protests "the impertinence of using Mr. Eliot's name in such a context."
C7 Collin, W. E. "Difficult, Lonely Music." In his The White Savannahs. Toronto: Macmillan, 1936, pp. 235-63. Rpt. introd. Germaine Warkentin. Literature of Canada: Poetry and Prose in Reprint, No. 15. Toronto: Univ. of Toronto Press, 1975, pp. 235-63. Collin offers the first study of Canadian poetry from a Modernist viewpoint, although vestiges of Romanticism remain. He examines the influences of seventeenth-century metaphysical poets, T. S. Eliot, the later poems of W. B. Yeats, The Golden Bough, the Grail legend, and the poetry of Edith Sitwell on Smith's work. Smith was able to integrate these poetics into his own work, yet still remain a contemporary author, by "continually experimenting with technique." "His verse is not distinguished from that of Yeats and Villiers de l'Isle-Adam and all those who intensely cultivate intellect and spirit by anything that has to do with philosophy, but by its tone, the austerity it has acquired through 'an athleticism, a training, of the soul.'" Smith's wit, his use of "austere symbols," concrete images, "simple completeness," all contribute to a contemporary" 'metaphysical' picture" that is "like symbols in a ritual, saying so much in their solemn silence, yet leaving so much unsaid, so much of ecstatic mystic doctrine, might have been murmured ... by Dr. Donne or Bishop Andrewes." The intricate "sacramental symbolism" reminds Collin of the "word-images assembled frugally with bare Franciscan economy that takes us back to that special creation of mediaeval Christian genius, the Latin Sequences, those of Adam of Saint-Victor, for example." Collin explains the austere rhythm, diction, and tendency towards geometrical abstraction with relation to Hume's argument about the contradiction between the religious and the humanist ideologies. Smith's desire to defeat "the irony of life's illusions by walking straight into the desert ... and facing the 'difficult, lonely music' " is compared to Eliot's religious poetry and described as a product of the seventeenth-century poetic temperament, Eliot's referral to The Golden Bough and the Grail legend, and the general political and social chaos of the time. Smith also incorporates Marx into his body of myth. The early symbols of the tower and the candle are discussed with relation to Yeats. The development of intentional ambiguity and contrapuntal verse are discussed with relation to James Joyce. The essay includes excerpts and entire reprints of many of Smith's poems and discusses style in detail. Biographical material is also included.
C8 Kennedy, Leo. "Direction for Canadian Poets." New Frontier, 1, No. 3 (June 1936), 21-24. Rpt. in The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 11-19. Although Smith "is easily the most talented and painstaking poet of all under consideration here," the "obscurity of his work" fails to deal with the real world.
C9 Edel, Leon. "The McGill Fortnightly Review: A Casual Reminiscence." McGill News, 21, No. 1 (Autumn 1939), 19-22, 61. Biographical details. Concentrates on the development of McGill Fortnightly Review.
C10 Brown, E.K. "The Development of Poetry in Canada, 1880-1940." Poetry [Chicago], 58 (April 1941), 34-37. Rpt. (revised, expanded -- "The Development of Poetry in Canada") in his On Canadian Poetry. Toronto: Ryerson, 1943, pp. 27-79. Rpt. (revised, expanded) in 2nd ed. Toronto: Ryerson, 1944, pp. 28-87. Rpt. (excerpts -- "The Montreal Group") in The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 1-3. In relation to the Montreal Group of poets, Brown presents Smith "as recognized from the outset as the central figure." In the expanded version, he devotes four pages to Smith's accomplishments, relating the high standards advocated in "Canadian Poetry -- A Minority Report" (B311) to Smith's own verse in New Provinces and News of the Phoenix. Almost equal attention is paid to nature, religion, satire, and light verse as expressions of an exigent, even haughty temperament. Brown claims that Smith's satiric poems should be read first as preparation for the more difficult and important pieces. [Sutherland, John.] "Mr. Coulter and Canadian Literature." First Statement, 1, No. 11 (1942-43), 7. In a discussion of a CBC broadcast given by John Coulter, Smith was selected as a nature poet. In his editorial, Sutherland takes issue with this interpretation, since "Mr. Smith has appeared from the beginning as a religious poet, and has concerned himself with the aesthetic mind ...." "The Lonely Land" bears only "a superficial resemblance to the work of the Group of Seven." Thomson's "Jack Pine" displays the power of nature, whereas Smith intends to portray the "quality of the ascetic mind." "There is a brevity and sparseness of diction in Smith that places him poles apart from the Thomson aesthetic." Sutherland uses "Prothalamium" as an example.
C12 [Sutherland, John.] "The Two Schools." First Statement, 2, No. 1 (Aug. 1943), 1. "When A. J. M. Smith declared in the University of Toronto Quarterly that the romantic tradition in Canada was dead [B311], he must have meant that it had lost its power to stimulate poetry. He could not have meant that it was dead in any other sense." Sutherland attacks the Canadian Authors Association as "the fecund womb of romanticism" which "is not dead, nor is it in any danger of dying."
C13 Frye, Northrop. "Canada and Its Poetry." The Canadian Forum, Dec. 1943, pp. 207-10. Rpt. in his The Bush Garden: Essays on the Canadian Imagination. Toronto: House of Anansi, 1971, pp. 129-43. Rpt. in Forum: Canadian Life and Letters 1920-70, Selections from The Canadian Forum. Ed. J. L. Granatstein and Peter Stevens. Toronto: Univ. of Toronto Press, 197 Smith's The Book of Canadian Poetry is a "First-hand study of the whole English field with unflagging industry and unfaltering taste." Smith maintains "expert" and "consistent judgment" and "historical sense." "Of course there are omissions, ... a few people are in who might well have been out ... and one or two poets have been rather unfairly treated -- including, I should say, one A. J. M. Smith .... Smith's study of the pre-Confederation poets is the only one that has been made from anything like a modern point of view." He has raised the perception of Charles Heavysege and Isabella Valancy Crawford. "The more famous writers of the so-called Maple Leaf school come down to a slightly more modern estimate .... though Mr. Smith IS scrupulously fair to them .... The thing that Impresses me is the unity of tone which the book has, and to which nearly all the poets in various ways contribute .... The qualities of our poetry that appear from this book to be distinctively Canadian are not those that one readily thinks of .... The imperial and the regional are both inherently un-poetic environments, yet they go hand in hand: and together they make up what I call the colonial in Canadian life .... Nature in Canadian poetry ... has little of the vagueness of great open spaces in it: that is very seldom material that the Imagination can use. But, according to Mr. Smith's book, the outstanding achievement of Canadian poetry is in the evocation of stark terror ..., a controlled vision of the causes of cowardice .... To sum up. Canadian poetry is at its best a poetry of Incubus and cauchemar, the source of which is the unusually exposed contact of the poet with nature which Canada provides. Nature is seen by the poet, first as unconsciousness, then as a kind of existence which is cruel and meaningless, then as the source of the cruelty and subconscious stampedrags within the human mind ...."
C14 S[utherland]., J[ohn]. "Literary Colonialism." First Statement, 2, No. 4 (Feb. 1944), 3. Rpt. in his Essays, Controversies and Poems. Ed. and introd. Miriam Waddington. New Canadian Library, No. 81. Toronto: McClelland and Stewart, 1972, pp. 31-32. Of Smith's Introduction to the Book of Canadian Poetry, Sutherland says, "I don't know whether this distinction [between the native and cosmopolitan traditions] has been made before, but it is a valuable one, and throws a good deal of light on Canadian poetry of the past and present." Sutherland points out that a "cosmopolitan" poet following Auden may be as colonial as a member of the Canadian Authors Association. The future, Sutherland argues, belongs to the native tradition.
C15 Sutherland, John. Editorial. First Statement, 2, No. 6 (April 1944), 1. Sutherland believers that Smith's conservativism has become a counterpart of the desire to "ape the latest fashion."
C16 Pratt, E.J. "Canadian Poets In the U.S.A." Canadian Review of Music and Art, 3, Nos. 3-4 (April-May 1944), 35. This feature article includes comments on Ralph Gustafson, Kenneth Leslie, Leo Kennedy, and a photograph of Smith accompanying an introduction to his life and works. "We hope that his manifold activities as Guggenheim research scholar, critic, anthologist, essayist, will not slow down his output In poetry, for it is in this creative field that his sensitive craftsmanship will yield the best grain."
C17 Collin, W. E. "Arthur Smith." Gants du Ciel, No. 11 (printemps 1946), pp. 47-60. Rpt. in The McGill Movement: A.J.M. Smith, F.R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 95-98. Un essai important qui a ete ecrit apres la publication de News of the Phoenix, cet article constitue le developpement d'un essai precedent de Collin au sujet de l'esthetique religieuse (C7). Collin explore les symboles religieux, demontre le phenix comme etant le developpement de l'image de la flamme, et finit par identifier le poete avec la divinite ou "Le Divm Insatisfait."
C18 Sutherland, John. "Introduction: The Old and the New. I -- Mr. Smith and The 'Tradition.'" In his Other Canadians: An Anthology of the New Poetry of Canada 1940-1946 Montreal: First Statement, 1947, pp. 5-12. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 47-53. Rpt. in his Essays, Controversies and Poems. Ed. and introd. Miriam Waddington. New Canadian Library, No. 81. Toronto: McClelland and Stewart, 1972, pp. 55-62. Sutherland argues that "... the significant question today is the antipathy of the two main schools [native and cosmopolitan], and the effect it has on the colonialism of poetry in Canada." Sutherland disagrees with Smith's insistence, in his Introduction to The Book of Canadian Poetry, "... that Canadian poetry is more truly Roman than we could ever have imagined m our wildest dreams. With his classical microscope he [Smith] is able to find m one poet [D. C. Scott] what he calls a 'hint of Virgilian rectitude' ...." Sutherland questions the relationship of metaphysical poetry to the Canadian backwoods and argues, "At the back of Mr. Smith's mind there is no doubt that the 'cosmopolitan' is the only tradition of Canadian poetry; that it is the direction in which the future is tending as well as the established fact of the past." Sutherland believes that if not for the advantage of argument, Smith "would readily come to the conclusion that nationalism was only suppositional." "If cosmopolitan Good is to be victorious in the accepted manner, then a devil -- i.e. the native tradition -- must be conjured up to challenge it: the hoax must be perpetrated, even though Mr. Smith knows it is utter nonsense to talk about a 'tradition of Canadian poetry.'" Sutherland states that both schools abdicate national responsibility, since "... they share with him [Smith] responsibility for maintaining that decayed faith, that shoddy and outworn morality, which blends in Canada with the colonial's desire to preserve the status quo." He concludes, "Mr. Smith's oxygen tent with its tap to the spirit will keep a few remnants [of colonial poetry] breathing for a while, but can hardly impede the growth of socialism in Canada, or prevent the radical consequences which must follow for the Canadian writer." Sutherland later retracted his statements in "The Past Decade in Canadian Poetry," Northern Review, 4, No. 2 (Dec.-Jan. 1950-51). "I criticized Mr. Smith ...; well I take it back ...; he was substantially right" (C21).
C19 Sutherland, John. "Critics on the Defensive." Northern Review, 2, No. 1 (Oct.-Nov. 1947), 1823. Rpt. in his Essays, Controversies and Poems. Ed. and introd. Miriam Waddington. New Canadian Library, No. 81. Toronto: McClelland and Stewart, 1972, pp. 62-67. Sutherland argues that Smith has not written by the standards he set down in "Wanted -- Canadian Criticism." Smith cannot write true contemporary poetry because his aesthetic keeps him from dealing with social issues and present-day reality.
C20 Scott, F.R. "A.J.M. Smith." The Educational Record [Quebec], 64, No. 1 (Jan.-March 1948), 24-29. Rpt. in Leading Canadian Poets. Ed. W.P. Percival. Toronto: Ryerson, 1948, pp. 234-44. Scott credits Smith: "If any one man can be said to have introduced this movement [Modernism] to Canada, it is A.J.M. Smith." The essay praises Smith's poems "for their fresh imagery, their wit, their metaphysical content, and for a quality which I can only describe as gaiety." Scott then analyzes Smith's poems In detail for these qualities. He finds in Smith's work "meticulous self-editing" which results m "austerity of... language," "the nearness of the individual to the absolute, in his deepest perceptions," "order," a "pure and hard" quality, and "rhythmic intensity." Scott finds "no contradiction" between Smith's satire and religious poetry, "for without faith there can be no satire, and without satire no secure and clarified faith." "Smith combines a profoundly philosophical approach to poetry with a capacity to handle any idea, even the most Irreverent, without indulging in cynicism." Scott considers The Book of Canadian Poetry to be "the first really scholarly and careful selection of our national poetry" and defines the cosmopolitan poet as "a Canadian poet, but in the great world of poetry and not in any regional corner." Scott includes excerpts and full citations of Smith's earlier Romantic poems that had not been republished outside of the McGill Fortnightly Review.
C21 Sutherland, John. "The Past Decade in Canadian Poetry." Northern Review, 4, No. 2 (Dec.-Jan. 1950-51), 42-47. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 116-22. Rpt. in his Essays, Controversies and Poems. Ed. and introd. Miriam Waddington. New Canadian Library, No. 81. Toronto: McClelland and Stewart, 1972, pp. 70-76. Sutherland retracts his protest against what he saw as Smith's "religious emphasis" (C18). Arguing from the perspective of the converted, Sutherland maintains that "the new poets have come back, if not always to religion, at least to a soul-searching which has strong religious implications ...."
C22 Pacey, Desmond. Creative Writing in Canada. Toronto: Ryerson, 1952, pp. 124-27. 2nd ed., 1961, pp. 122., 128, 134-39, 242. F.R. Scott, A.M. Klein, Leo Kennedy, and A. J. M. Smith "were to lead the first organized movement on behalf of the 'new' poetry in Canada." In contrast to the Romantics of the 1860s, "They sought to write of contemporary experience in a contemporary vocabulary and in imagery drawn from their Immediate environment ... their verse was intellectual and passionate. They were deliberately experimental in form, and the chief influences they acknowledged were those of the metaphysical poets of the seventeenth century and of such contemporary poets as Yeats, Eliot and Pound." Smith is "a minor poet, though he has been a major influence on Canadian poetry." He was the "leader and chief spokesman" of the Montreal Group and, although "A full-dress analysis and appraisal of Smith's work as a critic is outside the scope of this essay," his activity as a critic and an anthologist was "responsible for the burst of creative and critical activity in the middle and late nineteen forties." Smith belongs to the "'cosmopolitan school'" and "His attitude can best be expressed in his own words... : 'Set higher standards for yourself than the organized mediocrity of the authors' associations dares to impose.'" Smith has "practised what he preached." His two volumes of highly distilled poetry "are polished gems which can be handled again and again without dulling their lustre."
C23 Swift, Alex St.J. [Dudek, Louis]. "Imaginary Reviews by S. M. Organ Bowel." Rev. of Rugged Rhymes by a Riggish Rowdy. CIV/n, No. 6 [1954], p. 31. This hoax review column was signed by Alex St. J. Swift [Louis Dudek]."Hard as he tries, Mr. Smith can neither be as excessively rugged nor riggish as he has normally been excessively neither."
C24 Eggleston, Wilfred. The Frontier & Canadian Letters. Toronto: Ryerson, 1957, p. 160. Eggleston mentions Smith as among the authors of perceptive studies of Canadian letters. He points to Smith's optimistic view that "'The position of the poet in Canada today is much more fortunate than it was fifteen years ago.'"
C25 Pacey, Desmond. "A.J.M. Smith." In his Ten Canadian Poets: A Group of Biographical and Critical Essays. Toronto: Ryerson, 1958, pp. 194-222. The essay includes details of A. J. M. Smith's critical biography. "Almost single-handed, Smith in thirty years has effected a revolution in Canadian poetic theory and practice. As critic, anthologist, publicist and practising poet, he has stemmed the tide of lush romantic verse and replaced it with a clear, cold, intense and complex classicism." Half of the essay is devoted to an analysis of Smith's poetry. The poems of social criticism, using the techniques of irony, satire, and "epigrammatic wit," "are not the sincere expression of Smith's own convictions, but a pose adopted because Auden had made it popular." The poems "attacking modern warfare do carry conviction, and they are the most successful expression of his social criticism." Smith's "gift for satire is not negligible, but it is inferior to that of F. R. Scott." "Smith's religious poems ... seem to be technical exercises rather than the product of deep religious feeling. This impression arises chiefly, perhaps, from the fact that they do not cohere, as do the religious poems of Eliot, into a single if gradually developing pattern." "His short, unpretentious but complex lyrics will impress all who read them .... But that which is chiefly lacking in his poetry is just that which is so conspicuously present in his criticism: a hard core of consistency." Nevertheless, the "honesty and sensitivity" with which Smith has pursued the question of technique "has made a contribution which, in Canadian poetry at least, was badly needed."
C26 Rashley, R. E. Poetry in Canada: The First Three Steps. Toronto: Ryerson, 1958, pp. 49-50, 95, 148, 152-57. Rashley sees Smith as part of a group of poets whose "religion dictates their organization of experience and provides its significance." The style used by the thirties' metaphysical poets "assumes to be complex and complicated in its use of imagery." Smith was chiefly concerned with "the destruction of the 'national' concept of Canadian poetry and the demonstration that the poets of the thirties were part of a total English-language culture and engaged in creative effort that had the sanction of Canadian tradition." This "double stream of tradition" which Smith "imposed" on Canadian poetry is the centre of thirties' poetic theory and has the resulting "aberrations of vision." Nevertheless, Rashley accepts The Book of Canadian Poetry as "a very usable survey of Canadian verse." The essays include views of other opposing critics who were Smith's contemporaries.
C27 Birney, Earle. "A. J. M.S." Canadian Literature, No. 15 (Winter 1963), pp. 4-6. The first books of Smith, Scott, Klein, and Livesay gave "proof that the metaphysical and the symbolical could not only grow in English-Canadian soil but develop within it their own strains." "... Smith was to prove less fertile a poet than most ... [but] became our first anthologist of professional stature, and he is still essentially without a rival as such .... " "He was the first of our critics whose opinions were based both on a close sympathetic reading of the corpus of Canadian writing... and on a sophisticated awareness of contemporary critical ideas in the larger society of Europe and the United States."
C28 Fuller, Roy. "A Poet of the Century." Canadian Literature, No. 15 (Winter 1963 ), pp. 7-10. Fuller examines Smith's poetic achievement as a whole. In relation to the British tradition, he plainly "takes his place in the gap between Blunden and Day Lewis ...." Fuller excuses the poems he doesn't like (those influenced by Yeats) as necessary experiments to enable him "to move from his rather bloodless and formalistic early imagism to the often remarkable universal statements of his later verse ...." Smith is a "dazzling translator" and has talent for comedy and satire. Above all, "his verse is extraordinarily gnomic." Fuller praises Smith: "Not to have remained bogged down by either strict traditional forms of 'strict' vers libre, not to have been daunted by the new-found social concerns of the poetry of the thirties ... -- these are manifestations of character and intellect ...."
C29 Wilson, Milton. "Second and Third Thoughts about Smith." Canadian Literature, No. 15 (Winter 1963), pp. 11-17. Rpt. in A Choice of Critics: Selections from Canadian Literature. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1966, pp. 93- 100. Rpt. in The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 127-35. Wilson voices his "prejudices for and against" Smith, including the distracting legend of his "difficult lonely music," how he has "either misunderstood or vulgarized" Eliot, and the paradox of "just how all-of-a-piece, as well as how varied, Smith's work really is." In this re-consideration of Smith's career, Wilson rejects the extremes of interpretation he associates with Pacey (classical) and Collin (desperate mystic), although he does consider that Smith finds "the classic role congenial." Smith is "as pure a poet as be is a critic." Although Wilson disputes that Smith is a metaphysical poet, he views Smith's career as long-sustained, inventive, and remarkably varied m output. Wilson praises Smith's critical skill as an "anthologizer... of virgin territory." "Fortunately, the Collected Poems allows the reader to put Smith's more ascetic mannerisms in perspective. The poet may protest too much, he may risk succumbing to formula, he may even seem to imagine that he can escape from a soft cliche by exchanging it for a hard one, but his talent is too rich to allow doctrinaire confinement." "The angularities" of Smith's poetry "achieve... [their] fullest release" when "complimented by shimmer and fluctuation" of their opposites.
C30 Woodcock, George. "Smith's Hundred." Canadian Literature, No. 15 (Winter 1963), p. 3. An introduction and a salute to A. J. M. Smith. This special issue celebrates the publication of the Collected Poems and pays homage to Smith as one of Canada's important writers who, since the 1930s, has been a poet of international repute. The editor briefly comments on the contributions by Birney, Fuller, Wilson, and Smith himself (two new poems and "A Self Review"). These are summarized as "satisfyingly cohesive." Woodcock approves the "excellence" of the poems and Smith's "insistence on high rigorous standards ... which created the situation where a magazine like Canadian Literature could not only have a critical function to perform but could also find the means to perform it."
C31 Sylvestre, Guy, Brandon Conron, and Carl F. Klinck, eds. "A. J. M. Smith (1902-)." In Canadian Writers: A Biographical Dictionary. Toronto: Ryerson, 1964, p. 129. Rpt. in Canadian Writers/Ecrivains Canadiens: A Biographical Dictionary. 2nd ed., 1966, pp. 143-44. Brief biographical and bibliographical reformation.
C32 O Broin, Padraig. "After Strange Gods (A.J.M. Smith and the Concept of Nationalism)." Canadian Author & Bookman, 39, No. 4 (Summer 1964), 68. Rpt. in The McGill Movement: A.J.M. Smith, F. R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. z. Toronto: Ryerson, 1969, pp. 111-20. Rpt. in The Antigonish Review, 1, No. 1 (Spring 1970), 70-80. O Broin traces Smith's changing opinion of "Poem on Canada" by Patrick Anderson m a larger context of the problem of nationalism. "Has prolonged residence abroad had no influence on his work? How does he reconcile in heart and mind a foreign world and that Canada which for him should be earth's centre?" Although O Broin does not deny that Smith's poetry is that of "a poet's poet," one is also "... left with a general impression of cosmopolitan anonymity since in place of being first personal and local, reaching out then through man to men to compass a universe, Smith's work is cosmopolitan in intent and therefore, lacking deep roots ...."
C33 Beattie, Munro. "Poetry: 1920-1935." In Literary History of Canada: Canadian Literature in Enghsh. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 723-41. 2nd ed., 1976. Vol. II, 242-43. A.J.M. Smith was "the clearest sighted and most articulate" member of the Montreal Group who "inaugurated the second phase of modernism" -the phase of "concentration and evocation." "Smith has over the years done much service to Canadian letters as one of the first exponents of modernism and as editor of two of our most discriminating and comprehensive anthologies." Smith "acknowledges gratefully the pre-war English and American poets" who sought " 'to bring the subject-matter of poetry ... into the open air, dealing in language of present-day speech with subjects of living interest.' " But his affinities were patently with "the symbolist," "the metaphysical" (Donne through Eliot), and the "cubist world" of Edith Sitwell and Wallace Stevens. "Clearly Smith has refined and polished his own poems with unremitting care. His subtle imagination and skilful craftsmanship most strikingly display themselves m the poems ... which most clearly derive from the poetic strategy learned ... from the Symbolistes. If a few of these poems produce an effect of airlessness, that may be because ... imagery, rhythm, and incident evoke the emotional quality of an experience without defining it .... In a few slightly later poems ... he pushes his imagery m the direction of fantasy, achieving an effectively surrealistic quality. Other and more impressive poems.., comment cryptically and ironically on some twentieth-century perils and aberrations." Beattie regrets Smith did not return to "the descriptive-evocative landscape poem m short, sensitive free-verse lines ... poems which are technically akin to W.W.E. Ross's, are all admirable." "The Lonely Land" is one of those earlier poems which, in its first appearance, "carried a sub-title 'Group of Seven,' which interestingly spoke of a meeting between the new Canadian poetry of the 1920's and the new Canadian painting."
C34 Beattie, Munro. "Poetry: 1935-1950." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 753-54, 769, 770. 2nd ed., 1976. Vol. II, 265, 280, 281. New Provinces was "a literary milestone" which "celebrated and exemplified two mare achievements of the new poetry: 'a development of new technique and a widening of poetic interest beyond the narrow range of the late Romantic and early Georgian poets.'" Beattie presents John Sutherland's argument against Smith's poetic: "Smith, the rebel of the 1920's, now figured as the bishop of tradition .... He insisted on distinguishing in Canadian poetry a double tradition -- native and cosmopolitan -- that simply was not there .... He judged by aesthetic and religious rather than social standards; his prestige words were 'classical' and 'metaphysical.'" Smith did, however, make "the necessary adjustments" to be included in the second edition of Sutherland's anthology, Other Canadians.
C35 MacLure, Millar. "Literary Scholarship to 1960." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 537-38. 2nd ed., 1976. Vol. II, 73. A.J.M. Smith has "the resources of a born anthologist, a taste at once catholic and refined, and a race sense of historical development. The Book of Canadian Poetry (1943, 1948) has been for long our guide, and the Oxford Book of Canadian Verse will continue to be our breviary."
C36 Pacey, Desmond. "The Writer and His Public." In Literary History of Canada: Canadian Literature m English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Toronto: Univ. of Toronto Press, 1965, pp. 480, 481, 487, 488, 490-91. 2nd ed., 1976. Vol. II, 7-8, 13, 14, 16-17. Pacey notes that "The Lonely Land" is an example of the new Montreal Group's "deliberate efforts to match in verse the distinctively Canadian features of the paintings of the Group of Seven, and behind all their efforts lay a determination to create a Canadian literature worthy of comparison with a new literature emanating from abroad." New Provinces was "the most significant" of the 1930s anthologies. "The consciousness of the need for new direction is clearly apparent in the apologetic preface." During the Depression years, "even the relatively non-political A.J.M. Smith began to write poems attacking the injustices of the capitalist system and promoting socialist ideals." "The two most influential ... [anthologies and literary histories m the forties were] A.J.M. Smith's Book of Canadian Poetry and E. K. Brown's On Canadian Poetry. The joint appearance of these books ... was the final event in the long-drawn-out campaign to make Canadian literature academically respectable .... Smith's anthology was discriminating in its selections and scholarly m its introductions and annotations .... Smith's obvious preference for metaphysical verse and for the cosmopolitan tradition" stimulated much debate and critical activity.
C37 Wilson, Edmund. O Canada: An American's Notes on Canadian Culture. New York: Farrar, Straus and Giroux, 1965, pp. 85-101. Wilson considers the synoptic Introduction to The Oxford Book of Canadian Verse "illuminating" and the anthology itself as a representative selection of Canadian poetry. Praising the "excellent anthology," he notes that it is the first anthology to include both English and French "since a single much earlier one, now out of print and out of date." The essay mainly discusses the poets included in the anthology, rather than Smith's critical capacity of selection, but his discussion does include some material on Smith's poetry and editorship.
C38 "Presentation of Medals: Lorne Pierce Medal; A.J.M. Smith." In Proceedings and Transactions of the Royal Society of Canada, Ser. 4, No. 4 (June 1966), 56-57. Presented by F. R. Scott to "a man eminent not only as poet, scholar, and anthologist, but also as the principal founder of that revival of Canadian poetry which began in Montreal in the 1920's, and has developed since in an ever broadening stream." New Provinces is "a collection which first introduced the new Canadian verse to a wider public, and revealed his discriminating taste as an anthologist." "It has been justly said of Arthur Smith that he made Canadian Literature academically respectable and gave it a sense of its own identity." Includes critical biographical information.
C39 Story, Norah. "Smith, A.J.M. (1902-)." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, p. 768. Rpt. in Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, p. 291. Brief biography and critical commentary.
C40 Wilson, Milton. "A. J. M. Smith." In Poets Between the Wars: E.J. Pratt, F.R. Scott, A.J.M. Smith, Dorothy Livesay, A. M. Klein. Ed. Milton Wilson. New Canadian Library Original, No. O5. Toronto: McClelland and Stewart, 1967, pp. 103-04. Brief bio-bibliographic details.
C41 Stevens, Peter, ed. and introd. The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969. vii, 146 pp. This collection provides reprints of critical articles pertaining to Smith and reprints of articles by Smith. The articles on Smith are annotated individually throughout Section C of this bibliography. The articles by Smith, "F. R. Scott and Some of His Poems" (B345) and "A Self-Review" (B334), are listed in Section B. The critics on Smith include E.K. Brown, "A.J.M. Smith and the Poetry of Pride" (D7); W. E. Collin, "Arthur Smith" (C17); Lionel Kearns, review of Poems, New and Collected (D51); Padraig O Broin, "After Strange Gods" (C32); Peter Stevens, Introduction (C41); Milton Wilson, "Second and Third Thoughts about Smith" (C29); and George Woodcock, "Review of A.J.M. Smith's Collected Poems (D33). In his Introduction, Stevens notes that Smith's essays formed "the basis of the theory behind much of the poetry" in the McGill Movement. His prose contained "an admonitory tone," though his "views have moderated somewhat in recent years ...." Some of Smith's "slight imagist poems" contain "an almost didactic comment ... although most of these poems remain uncollected ...." Other early uncollected poems criticize "society in very general terms." Smith's attacks on "literary figures and groups" can be seen in his parodies. "Smith... has always been a chameleon-like poet, adopting poses and poetical stances to indulge in exercises in poetry. Some of his religious poetry comes into this category ...." The various noms de plume and poetic voices in the McGill Fortnightly Review are examples of such exercise. "... Smith has gone on refining and reshaping his poems and assessing and defining Canadian poetry ... in a series of remarkable anthologies .... Even in the most adverse criticism ... there is still an acknowledgement of the deliberate craft and sharp intelligence ...."
C42 Glassco, John. Memoirs of Montparnasse. Toronto: Oxford Univ. Press, 1970, pp. 31-32. Glassco describes Smith as "the Canadian Yeats."
C43 Jones, D. G. Butterfly on Rock: A Study of Themes and Images m Canadian Literature. Toronto: Univ. of Toronto Press, 1970, pp. 120-24, 135-36. Jones argues that, contrary to a number of critics, Canadian literature is not simply "negative, even neurotic," but that the literature reveals both positive and negative characteristics. His thesis is that in many works we are placed in exile and he draws an analogy to the Old Testament to encompass the "advanced victims of a national neurosis, but also the prophets of the Old Testament who can raise the smoke from our haunted chimneys." Smith fits into this thesis with his Proteus mythology, which, though drawn from a source apart from the Bible, is comparable to "the lost order of Eden" and to "the dreaming Adam" in his "attempt to catch the world by the tail in all its manifold variety." He revokes the language of the seventeenth century to show that "... acceptance of ... [death] brings, not resignation and despair, but enthusiasm, joy." By going into the wilderness, poets from Isabella Crawford through to John Newlove and including Smith "experience not a greater sense of alienation, but a greater sense of vitality and community." This is "an essentially sacrificial view of life."
C44 Woodcock, George. "Smith, A.J.M." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, pp. 1009-12. Rpt. ["Smith, A(rthur) J(ames) M(arshall)"] in Contemporary Poets. 2nd ed. Ed. James Vinson. London: St. James, 1975, pp. 1430- 33. 3rd ed., 1980, pp. 1419-21. This introduction to Smith's work is condensed from Woodcock's 1963 essay entitled "Turning New Leaves" (see D33).
C45 Djwa, Sandra. "Canadian Poetry and the Computer." Canadian Literature, No. 46 (Autumn 1970), pp. 51-52. Like D.C. Scott, Smith employs a "'death'-'love'-'beauty'-'dream'" complex of Imagery. Both poets use metamorphosis as a poetic technique.
C46 Mandel, Eli. Introduction. In Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Patterns of Literary Criticism, No. 9. Chicago: Univ. of Chicago Press, 1971, pp. 11-12, 16-17. "Smith's praise of those poets who made a heroic effort to transcend colonialism by entering into the universal civilizing culture of ideas implied that, as opposed to 'cosmopolitan' poetry, native or national poetry remained colonial, presumably in its parochialism. Sutherland's reply simply identified 'cosmopolitan' with British poetry and consequently with social reaction .... For Smith the models are British, specifically Yeats and Eliot; whereas for Sutherland the models are American, specifically the Imagists, but also Sandburg, Fearing, Cummings, Marianne Moore -- and, of course, Whitman." "In part, the issue between Smith and Sutherland is modernism; in part, it is the social function of poetry or literature .... What seems to be at stake is largely a question of whether one prefers the 'cultivated' or the 'uncultivated,'" or as Warren Tallman terms it, "the crude-fine paradox." Smith's essays on poetics are "important for historical reasons as well as for their own vision of craft and art," but "one would not want to place them for comparison in the company of Eliot's Collected Essays, Pound's criticism, or for that matter Charles Olson's Human Universe or Auden's The Dyer's Hand." His essays did, however, develop critical polemics. "Contemporary Poetry" and "Wanted -- Canadian Criticism .... declared for modernism, for craft, for tradition, and began Smith's relentless campaign for clarity and integrity m Canadian poetry, with a reversal of perspective at once simple and profound ...."
C47 Thomson, Peter. "Smith, Arthur James Marshall (1902- )." In British Commonwealth Literature. Vol. I of The Penguin Companion to Literature. Ed. David Daiches. Harmondsworth, Eng.: Penguin, 1971, p. 483. "Although he has spent much of his life outside Canada, Smith has a great influence on Canadian poetry. He is the editor of 2 crucial anthologies, The Book of Canadian Poetry ... and The Oxford Book of Canadian Verse .... His own output is surprisingly meagre.., but this is the result of rigorous self-criticism. He is an austere poet who employs a carefully selected diction in taut, syntactical groupings. He has been open to various influences, most of them leading him towards the still centre of poetic craftsmanship rather than out into a world ominous of chaos. His refusal to indulge a passion for 'poetry' in his poems has made him a leader of Canadian 'academic' poetry." Contains critical biographical information.
C48 Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, p. 62. In relation to "Basic Victim Positions," Atwood links Smith with a variation of Position Two, that is, to acknowledge the fact that one is a victim. Atwood deems "The Lonely Land" as a good example which "has all the lagged edges of a Tom Thomson jack pine but still manages to affirm."
C49 Reference Division, McPherson Library, Univ. of Victoria, B.C., comp. "Smith, Arthur James Marshall 1902- ." In Creative Canada: A Biographical Dictionary of Twentieth-Century Creative and Performing Artists. Vol. II. Toronto: Univ. of Toronto Press, 1972, 253-54. Bio-bibliographical details.
C50 Thomas, Clara. "A. J. M. Smith." In Our Nature-Our Voices: A Guidebook to English-Canadian Literature. Vol. I of Our Nature -- Our Voices. Toronto: new, 1972, 110-14. A summary of key events in Smith's career accompanied by unrelated photographs of the thirties. "Tough, intense, passionate, literary -- these are the words that come first to mind to describe his verse." "As poet, as critic and as anthologist, A. J. M. Smith has been central to the writing, the reading and the academic study of Canadian literature since his McGill days in the twenties." Includes a checklist of books and reviews.
C51 Gnarowski, Michael. "Smith, Arthur James Marshall, 1902- ." In his A Concise Bibliography of English-Canadian Literature. Toronto: McClelland and Stewart, 1973, pp. 113-15. Rev. ed. Toronto: McClelland and Stewart, 1978, pp. 131-33. Bibliographical details.
C52 Seymour-Smith, Martin. "Canadian Literature." In Funk & Wagnall's Guide to Modern World Literature. New York: Funk & Wagnall, 1973, p. 332. Rpt. in American, Australian, British, Canadian, South African, New Zealand. Vol. I of Guide to Modern World Literature. London: Hodder and Stoughton, 1975, p. 361. Although English Canadian poets "became active in the mid-Twenties .... their group anthology, New Provinces, did not appear until 1936." A brief entry under Smith notes that he "has been important as an influence and anthologist as well as a poet." "He is essentially a cautious modernist, and his work remains more or less in the formal tradition, often reminding one of the Sitwells and drawing on the English metaphysical tradition. His deliberate pastiche of such poets as Yeats and Vaughan is brilliantly educated and displays extraordinary sensitivity and skill; but since his best effects are in this kind of poetry one wonders if his function is not predominantly critical. He has an admirably hard style in his 'own' poems, but seems too often to lapse into rhythmical obviousness and a tone slightly false to his own educated sophistication."
C53 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 131, 135, 143. Smith, among others, "urged Canadians to break out of narrow nationalism." "For A. J. M. Smith, joining the world meant experimenting in modern techniques of poetry ...." He also revived "interest in classical myths" and early English poets "and he worked in the light of their methods rather than m any native tradition." The "central philosophic concern of contemporary Europe" was death and many of Smith's poems also evoke this theme. Although an expatriate, Smith "continued to be regarded as a leader among Canadian poets" and his anthologies articulated "controversial theories."
C54 Rhind, Ian. "Patriarchal Poet (ret'd) Read and Reminisced." Arthur [Trent Univ.], 5 March 1974, n. pag. "From first to last impression he was a warm and amiable old gentleman, bringing a lively wit and reflective sensibility to the Canadian writer's forum." Rhind asked if Smith still writes. "Of course not! I'm retired. It is better to have written than to write."
C55 Bissell, C.T. "Smith, Arthur James Marshall." Encyclopedia Canadiana, 1975. "Smith has strongly influenced studies of Canadian literature in two ways: in the emphasis he places on the historical importance and the intrinsic worth of the pre-Confederation poets; and m his analysis of the group affiliations of contemporary Canadian poets." Smith "fostered an interest in the metaphysical poetry of the religious poets of the 17th century ... and of their 20th century disciples ...." His own poetry is "compressed and allusive, striving to achieve a formal elegance ...." Includes biographical information.
C56 Edel, Leon. "When McGill Modernized Canadian Literature: Literary Revolution -- The 'Montreal Group.'" In The McGill You Knew: An Anthology of Memories 1920-1960. Ed. Edgar Andrew Collard. Don Mills, Ont.: Longman, 1975, pp. 112-22. A colourful and Insightful memoir of McGill in the 1920s that includes both personal and critical biographical information. Edel attempts to recover the beginnings of the Montreal Group, focusing on Smith and Scott, but also including Bully [John] Glassco, Louis (Lew) Schwartz, Otto Klineberg, Sydney Pierce, Allan Latham, Arthur Percy Rushton Coulbourn, Graeme Taylor, Dougle Adam, Leo Kennedy, A. M. Klein, the later Toronto poets (E. J. Pratt and Robert Finch), and Stephen Leacock's contribution. Edel stresses Smith's role in creating the editorial policies of McGill Daily Literary Supplement and McGill Fortnightly Review and his profound influence on other poets in the group: "It was Smith who adapted -- and adopted -- the modern idiom, the Yeatsian symbolic sense, and used it in his poems." Scott and Smith were "verbal 'activists'" who "wrote shattering verse." "They expressed themselves in a manner proper to themselves and their time." As "ground-breakers," Edel compares the Montreal Group to the Bloomsbury Group: "... within our exuberance and aggressions and wit, there was something genuinely Canadian, something as local and rooted, as Bloomsbury was in Gordon Square in London." He also notes that New Provinces is the Canadian counterpart to Lyrical Ballads. Two short lampoons on the university and the McGill Daily (one written by Smith, the other by Smith and Scott) are included as examples of the "witty war."
C57 Colombo, John Robert. "Smith, A.J.M. (b. 1902)." In his Colombo's Canadian References. Toronto: Oxford Univ. Press, 1976, p. 490. Bio-bibliographic information.
C58 Farley, T. E. Exiles and Pioneers: Two Visions of Canada's Future 1825-1975. Ottawa: Borealis, 1976, pp. 107, 110, 113. Passing references.
C59 Gnarowski, Michael. Introduction. In New Provinces: Poems of Several Authors. Ed. A.J.M. Smith, F.R. Scott, et al. Literature of Canada: Poetry and Prose in Reprint, No. 20. Toronto: Univ. of Toronto Press, 1976, pp. vii-xxiii. The original section of the anthology is reprinted from New Provinces (Toronto: Macmillan, 1936). Gnarowski quotes from valuable correspondence between the authors/editors (especially between Smith and Scott) and with the publisher relating to the compilation and publication of the original anthology and explaining the continuous delay in publication. The text of "A Rejected Preface" is reprinted from Towards a View of Canadian Letters (Vancouver: Univ. of British Columbia Press, 1973), pages 170-73. New Provinces is an "entirely unpretentious anthology" and "was a singular event in a literary process which stemmed from the origins of Canadian modernism and its beginnings in Montreal .... A.J.M. Smith was the recognized leader. Smith possessed a precocious sensibility and a sharp sense of critical awareness as far as contemporary poetry on the world scene was concerned." He initiated the McGill Daily Literary Supplement and the McGill Fortnightly Review. In these periodicals, "... Smith got properly started on a long career of articles, prefaces, and critical commentary ...." Smith's reaction against "the set and insipid ways of traditional verse" is set in a larger context of other contemporary writers who were "edging towards new writing and new ideas In criticism." "The cryptic yet tentative tone of F. R. Scott's preface to New Provinces, and the confident, politically assertive tenor of Smith in his own rejected preface to the same collection are evidence of the range of debate and the fullness of the social dilemma." The letters show that, even among these new writers, there was much disagreement. Gnarowski summarizes the "short shrift" with which New Provinces was generally received, when finally published, although E. K. Brown did note that the anthology was "one of 'three extremely important services [which had] been rendered to Canadian poetry' during 1936." Gnarowski concludes with a lament that recognition "has been, generally speaking, a belated and distant doffing of critical hats .... It is all the more ironic, then, that it has taken us forty years to see this new edition of it into print."
C60 McCullagh, Joan. Alan Crawley and Contemporary Verse. Foreword Dorothy Livesay. Vancouver: Univ. of British Columbia Press, 1976, pp. xxiv, xxv-xxvi, 2, 6-7, 16, 20-21, 31, 42, 44, 81-82. Rather than criticism on Smith, many of the references in this book which outlines the development of Modernism pertain to Smith's views of contemporary poetry in the late thirties and forties and his views of Alan Crawley's Contemporary Verse, the major journal which advocated Modernism. McCullagh quotes from Smith's correspondence with Crawley and includes an index to Contemporary Verse which contains a list of Smith's contributions and Crawley's reviews of The Book of Canadian Poetry. "... New Provinces was not the manifestation of a viable modern poetry movement, as the Montreal group realized. It was very much an after-the-fact publication." "The poetic output of A. J. M. Smith, Robert Finch, and Leo Kennedy sharply declined during the thirties, and all of these poets left Canada." Yet, "At the end of the decade ... Smith was still touting as 'our best poetry' the early thirties' poetry of Kennedy, Livesay, Ross, and Pratt, supplemented by [other] 'careful craftsmen ....'" Smith's division between "Modern Native" and "Modern Cosmopolitan" "... is actually between transition poetry and modern poetry. The poets listed under the 'Native Tradition' have not yet acquired a modern sensibility -- their work still shows the struggle between the romantic tradition and the attitudes and techniques of modernism -- while those grouped under the 'Cosmopolitan Tradition' have achieved a modern voice. What irritated John Sutherland was the derivativeness of this cosmopolitan modernism." The "real accomplishment of the early forties' poets" was that "modernism was naturalized, and an indigenous modern poetry evolved ...." "A.J.M. Smith's revised Book of Canadian Poetry brought a little stir of activity to 1948." He "ended the native-cosmopolitan controversy" by grouping the Moderns together.
C61 Moyles, R. G. English-Canadian Literature to 1900: A Guide to Information Sources. Detroit: Gale, 1976, pp. 23, 29, 31, 32, 33, 49, 66, 70, 77-78, 97, 121, 122, 149, 160, 210, 263. Bibliographical listings.
C62 Pacey, Desmond. "The Course of Canadian Criticism." In Literary History of Canada: Canadian Literature in English. 2nd ed. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1976. Vol. III, 19-25. "Smith ..., with E.K. Brown as his principal lieutenant, became the representative critic of the forties and fifties." Smith's articles in The Canadian Forum and his rejected Preface to New Provinces represented the "new spirit of sophisticated skepticism .... " "Although they [Smith, F. R. Scott, Klein, and Livesay] were nationalists too, in a sense, they took the view that true nationalism was better fostered by critical examination of weaknesses and deficiencies than by uncritical adulation; ... they ... wanted to modify romanticism by a strong infusion of irony or to discipline it by the application of such so-called 'classical' virtues as economy, wit, order, and control." The "turning point [of Canadian literature] was the appearance of the Smith and Brown books in 1943" (On Canadian Poetry and Book of Canadian Poetry). Pacey notes that the expatriate status of Smith and Brown "did much to dissipate our lingering colonial inferiority complex." Pacey notes the inexactitude of his terminology, but writes, "... what we may for the sake of simplicity call the romantic idealism and nationalism of Lorne Pierce provoked a counter-tendency-the classical and metaphysical cosmopolitanism of A. J. M. Smith, and that this counter-tendency eventually became the dominant one. A similar dialectical process occurred with respect to Smith, and began remarkably soon after his dominance was established .... Sutherland seized upon one of the weaknesses of Smith's criticism -- his tendency to apply the terms classical and metaphysical too indiscriminately ...." Pacey writes, "... much as I respected Smith's standards my own sympathies were with the social realists. What happened, however, was something quite different. Instead of the Smith thesis of cosmopolitan classicism provoking the direct antithesis of national realism, what developed was a synthesis of Pierce's national myth-making and Smith's literary sophistication in the form of the now dominant Frye school of mythopoeic and thematic criticism."
C63 Ross, Malcolm. "Critical Theory: Some Trends." In Literary History of Canada: Canadian Literature in English. 2nd ed. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1976. Vol. III, 161-64, 168. "It was part of Smith's task to deliver us, if he could, from a blinkered prudery and a simple-minded maple leaf piety. But above all, he sought to call forth the philosophical critic who would 'examine the fundamental position of the artist' and who would make us conscious of our position in time, not just in space." "Sensing that, by 'the native tradition' Smith had really meant 'The Canadian Authors Association,' and by 'the cosmopolitan tradition' he had meant everything approved by T.S. Eliot in his AngloCatholic phase, [John] Sutherland opened an attack on 'the art-religion hypothesis,' which he saw as a device taken over by 'Bishop' Smith to keep us colonial. Sutherland, therefore, would secularize art, strip it of all religious and metaphysical pretension, make it useable as a weapon in the class struggle." By 1950, Sutherland refutes his earlier attack on Smith. Ross lists Smith's article "Eclectic Detachment" as one of the links between "'the art-society hypothesis' and the mythopoeic theories."
C64 Woodcock, George. "Poetry." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 285-86, 294-95, 307. In this survey article of contemporary poetry between 1960 and 1973, Woodcock lists Smith among a number of notable poet-critics. He also states that "... in the delineation of a Canadian tradition no critic or literary historian has done more than A. J. M. Smith, who in 1960 followed his pioneering Book of Canadian Poetry (1943) with the Oxford Book of Canadian Verse, which broke ground by including works by poets writing m both English and French, and thus provided a basis for comparative study of the two Canadian traditions." Woodcock notes Milton Wilson's praise of this latter book as the "'result of an admirable and successful compromise between three aims: (a) to cover the historical range of Canadian poetry, (b) to include as many poets as possible, and (c) not to defeat Mr Smith's own poetic standards of economy, accuracy, intensity and purity.'" In both the Oxford anthology and in his later Modern Canadian Verse, "... Smith combined a strong historic sense of what was germane to the period he was illustrating with a fine ear for the best in whatever manner a poet might represent; as a result, his judgment of past Canadian verse has provided a chart of poetry considered as a manifestation of Canadian culture which few other critics or literary historians have challenged. Just as significantly, the youngest poets whom he picked for his Modern Canadian Verse are among those who are now generally recognized as the best of their time." "Smith and Scott followed fairly predictable courses, the character of their poetry remaining virtually unchanged as they proceeded increasingly into the dimension of personal detachment; the poems they wrote after 1960 do not notably modify previous estimates of their total achievement."
C65 Layton, Irving. "Open Letter to A.J.M. Smith." Northern Journey, Nos. 7-8 ([June] 1976), p. 104. A mocking response to Smith's poem "On Reading Layton's 'Poetry as the Free Art of Pugilism'" (B194). The tone is reminiscent of the forties correspondence columns of The Canadian Forum.
C66 Iconocrit [The Editors]. "The Descent from Olympus: Smith, Frye and Atwood." Iconomatrix: A Political & Iconoclastic Quarterly, 1, No. 2 (Jan. 1976), 3-15. Contemporary criticism is academic and devoid of personal enthusiasm. In Canadian criticism, Smith is "a giant" who was for "some five years" disarmed by John Sutherland. His so-called cosmopolitanism is based on a misunderstanding of Eliot, and of local and regional elements in poetry. More dangerous than his concept of eclectic detachment are the theories of Frye and Atwood. Desmond Pacey is singled out as "perhaps our only major critic of common-sense" and praised because he "explicitly rejects Frye, and implicitly Smith." "Olympus must be leveled if literature is to be revitalized and nourished."
C67 Djwa, Sandra. "A. J. M. Smith: Of Metaphysics and Dry Bones." A.J.M. Smith: A Symposium, Michigan State Univ., East Lansing, Mich. 8 May 1976. Printed trans. Lucie Lemay ("A. J. M. Smith: metaphysique et squelettes blanchis") in ellipse, No. 22 (1978), pp. 98-106. Rpt. ("A.J.M. Smith: Of Metaphysics and Dry Bones") in Studies in Canadian Literature, 3 (Winter 1978), 17-34. According to Djwa, although Smith was the most accomplished poet publishing in Canada from 1924 to the mid-forties, his dazzling poetic craftsmanship has not been given sustained consideration. Djwa defends Smith's claim to be a modern or neo-metaphysical poet, despite Milton Wilson's dismissal of this claim and the pervasiveness of Collin's opinion of Smith being apart from the mainstream of Canadian poetry. She does so on the basis of the metaphysical texture and subject of key poems and "above all ... this sense of a breakdown in the established world." He applied neo-Platonic philosophy to the twentieth century and began to refine some of the older religious concepts. Of his writing in general, she observes his strongest poetic and critical impulse works m terms of pairs of opposites (through the technique of paradox and hyperbole).
C68 Edel, Leon. "The Worldly Muse of A. J. M. Smith." A.J.M. Smith: A Symposium, Michigan State Univ., East Lansing, Mich. 8 May 1976. Printed in University of Toronto Quarterly, 47 (Spring 1978), 200-13. A biographical critical essay which explores the poet's voice in its personae as scholarly anthologist ("who set the house of poetry m Canada in order, and opened its windows to the world"), axiomatic theorist, and impersonal lyricist. Smith is a poet of guarded emotion, most evident in Edel's comparison between Klein's "Portrait of a Poet" and Smith's review of it. Edel offers a challenging interpretation of "The Creek." "I ask, however, very tentatively, what price has Smith paid .... what has been the cost of his high civilization?"
C69 Mandel, Eli. "Masks of Criticism: A. J. M. Smith as Anthologist." A. J. M. Smith: A Symposium, Michigan State Univ., East Lansing, Mich. 8 May 1976. Printed in Canadian Poetry: Studies, Documents, Reviews, No. 4 (Spring-Summer 1979), pp. 17-28. Mandel examines the dualities created by Smith's critical stance: those of the poet-critic and the conflict between native and cosmopolitan poetry. Mandel quotes from "Wanted -- Canadian Criticism" to show Smith's resolution of the tension between the poet and the critic in "the underlying relationship of poetry and theory, tradition and renovation, the exceptional and paradoxical forces demanding the creation of a usable past." In this lengthy quotation, Mandel sees "the rationale, in its public formulation at least, for a new kind of anthology, for an auto de fe and the building of a new library, for composing the tradition of the modernist writing in Canada .... Moreover, it is his awareness of the distinction between the merely conventional and the traditional that distinguishes his work as an anthologist .... " "The Book of Canadian Poetry in its first version of 1943 remains, quite probably along with Ralph Gustafson's anthologies, a landmark collection, a sort of watershed ... [between the native "songs" and the post-1943 splinter poetics] of regional diversity, ethnic differentiation, urbanization as a social reality, class structure, changing taste and preference, Maoism, Sexism, and Saskatoon." "But it is probably a measure of the majority of collections that they have yet to focus in as clear and precise a fashion as Smith's own major anthologies from 1943 to 1967 the important and central questions of Canadian literary criticism." Smith's "... modernism is increasingly identified with 'a variety of subtle rhetorics' ... and develops in what is called 'a progressive and orderly revolution' under the influence of imagism, the symbolists, and modern metaphysicals until by the fifties 'The themes that engage these writers are not local or even national; they are cosmopolitan and, indeed, universal.' The development receives what looks very much like historical sanction because it parallels stages Smith locates in the history of Canada: the colonial, the national, the cosmopolitan." "It is around this version of Canadian writing that the mare concerns of Canadian criticism took shape, opposing positions polarized, and contemporary theory developed."
C70 Rosenthal, M. L. "'Poor Innocent': The Poetry of A.J.M. Smith." A.J.M. Smith: A Symposium, Michigan State Univ., East Lansing, Mich. 8 May 1976. Printed in Modern Poetry Studies, 8 (Spring 1977), [1]-13. Rpt. (revised -- Introduction) in The Classic Shade: Selected Poems. Toronto: McClelland and Stewart, 1978, pp. 9-19. A. J. M. Smith "has something like perfect pitch in poetry. He has the ability to read a poem for the first time and, almost at once, catch its tones and associations. One might say that this was a critical rather than a creative gift, and, indeed, it is what makes his anthologies such triumphs of taste ...." His "mimetic empathy," in "To Henry Vaughan," "fills the lines with the light of a kindred sensibility aroused by his sheer love of Vaughan's phrasing." Smith's feeling for the poetic "process -- its traditions and its possibilities, the rich opportunities it provides for the convergence of creative energy with critical responsiveness" -- unites his "play of form and private emotion," as in "the half-light, half-serious poem called 'Poor Innocent.'" Smith finds his "originality" in "Communion -- dialogue -- with the past, and repossession of it in his own new, idiosyncratic way ...." The epigraph from an essay by George Santayana is printed in all four of Smith's books of poetry and "is the perfect creed for the gentle, sophisticated natural, whose joy in the creations of his predecessors and of his contemporaries could hardly diminish his own song." Smith's "speaker is a 'gentle natural' -- an educated one, to be sure, skeptical about his own romantic vision and feelings and in all too great a hurry to tell himself to come off it." "In the Romantic-Classical debate, Smith tends to vote Classical on principle while his poems actually throw the balance of feeling and imagination a little the other way." His use of ambiguity and paradox "is true to the lyric tradition" and "reaches back to Elizabethan forerunners." Smith's "loving wit and the evocative exploration of feelings ... [show that he] is inevitably an engaged poet in his own clear fashion." In his best poems, Smith "does not know the answers any more than the rest of us do, but he knows the questions better ...."
C71 Scott, F.R. "Arthur James Marshall Smith: A Memoir." A. J. M. Smith: A Symposium, Michigan State Univ., East Lansing, Mich. 8 May 1976. Scott reminisces about the McGill University days, the making of New Provinces and of The Blasted Pine, and Smith's receipt of the Lorne Pierce Medal. Diary entries are drawn upon for his early meetings with Smith. Scott reveals: "I was on the road to Damascus, but his was the light that suddenly shone upon me. He showed me the wonders of a world I had been missing."
C72 Djwa, Sandra. "'A New Soil and a Sharp Sun': The Landscape of a Modern Canadian Poetry." Modernist Studies, 2, No. 2 (1977), 3-17. Djwa describes the background of Canadian modernism as the rebirth of nationalism. Smith was one of the poets who turned to landscape. His poem "The Lonely Land" was influenced by the Group of Seven and the art in The Canadian Forum. The first stanza draws on "Oread," by H. D.
C73 Mandel, Eli. "Life Sentence: Contemporary Canadian Criticism." The Association for Canadian and Quebec Literatures, Univ. of New Brunswick, Fredericton. May 1977. Printed in Laurentian University Review/Revue de l'Universite Laurentienne, 10 (Feb. 1978), 7-19. Mandel offers a challenging interpretation of Smith's role as a critic who has set out issues which continue to be discussed. As early as 1928, "Wanted -- Canadian Criticism" was concerned with the role of a philosophical critic whose prophetic power directs us to question the underlying relationship of poetry and theory, tradition, and innovation. It suggests the exceptional and paradoxical forces related to creation of a usable past and a direction for the future. In addition to serving the cause of Smith's Modernism, his criticism addresses itself to "other voices, other times." Concerning Sutherland's attack on Smith, and Frye's review of The Book of Canadian Poetry, Mandel maintains the discussion of the sixties and seventies develops from the tradition of writing established by Smith in The Book of Canadian Poetry, but "there are other versions." The anthologies by Smith provide a sense of the mainstream of Modern poetry in Canada.
C74 Livesay, Dorothy. "Tip of an Ice-Berg." Essays on Canadian Writing, Nos. 7-8 (Fall 1977), pp. 145-50. A review of the second edition of New Provinces that places the failure of the original edition in a political context. The book did not have a large impact in the '30s because "the international scene obsessed us." Nineteen thirty-six was "the year of the fascist advance and repulse in Spain." The content of New Provinces "was meaningless. 'Pure' poetry was laughable." Livesay praises the inclusion of the Smith Preface in the second edition. "With Klein leading," Smith and the others "probed the vein" of irony "to create some classic pieces that are an unforgettable part of our heritage." "It could be argued that A.J.M. Smith handles the imagist poem with greater dexterity [than F. R. Scott], but his work does not emit the warmth that comes from close contact with the soil."
C75 Beatler, Bernhard. Der Einflub des Imagismus anf cite moderne kanadische Lyrik englischer Sprache. European Univ. Papers, Series xiv, Anglo Saxon Language and Literature, Vol. 57. Frankfurt am Main: Peter Lang, 1978, pp. 74-83. Brief discussion of Smith's Imagist poems within the broad context of Imagism in Canada.
C76 B[onenfant]., J[oseph]. "Avant-propos." ellipse, No. 22 (1978), pp. 4-7. Bonenfant provides an introductory and comparative study of Smith and Rma Lasnier. For both, "la totalite me semble etre celle de l'esprit, quel que sens qu'on prate a ce mot. La poesie, dans ses mots, ses formes, ses tours, son lyrisme, sa densite, ses conflits, ses apprehensions, etant materielle -- quelque sens qu'on donne a ce mot -- elle aime naturellement ce qui la defie; la matiere cherche a epouser l'esprit; de leur union nait le souffle poetique, la phrase souveraine, les feux d'une langue nouvelle." "Smith est peut-etre plus connu comme anthologiste de la poesie et de la prose du Canada." "Smith se laisse raconter un souvenir d'enfance." "Il est question de l'eau, source de figures et de metaphores dans une uvre."
C77 Mathews, Robin. "The Struggle for Voice in Canada." In his Canadian Literature: Surrender or Revolution. Ed. Gaff Dexter. Toronto: Steel Rail, 1978, pp. 149-62. From a radical Marxist perspective, Mathews launches a virulent attack on what he sees as Smith's neo-colonialism. "That rejection or misunderstanding [of tradition in Canadian poetics and Canadian voice] is visible from the McGill Movement onwards" (especially strong again in the "Vancouver Black Mountain School of Imitation"). "Canadian poetry was discredited." Smith was "visibly derivative. He has held U.S. citizenship for about forty years, and has discussed Canadian poetry in a thoroughly ambiguous way. He both accepts and denies Canadian identity, accepts and denies a Canadian tradition, always as a liberal ideologist who has nothing to say about class, power, or national consciousness ...." "At one level... [the McGill and TISH poets] have found in U.S. poetry the liberation and the new directions -- on a purely technical level -- that they have sought. On another level they have been absorbed by the powerful rhetoric the U.S. has broadcast about itself. That rhetoric invites an annexationist response in Canadians." "In 1960, A. J. M. Smith wrote ... that Canadian poetry was, quite frankly, a colonial poetry." Smith's historical basis implies that "Canadians don't possess a tradition or voice of their own."
C78 S[houldice]., L[arry]. Foreword. ellipse, No. 22 (1978), pp. 8-9. Smith and Rina Lasnier are "Poets' poets" of equal stature, at the pinnacle of their profession, their art deeply respected by those who know and care about poetry. Both "played central roles in introducing the values of modernism .... Each poet has produced ... un oeuvre ... and rarer still, each has won a considerable reputation ...." "Smith speaks in many voices and many styles ... tackles paradoxes head on... [and] is metaphysical." Each "agreed to translate several of the other's poems." Smith's translations were damaged in the mails and never arrived.
C79 Stevens, Peter. "Smith, Arthur James Marshall (1902-)." In Modern English-Canadian Poetry. A Guide to Information Sources. Detroit: Gale, 1978, pp. 98-103. Contains a brief critical introduction and listings of primary and secondary sources.
C80 Ferns, John. "The Poetry and Criticism of A. J. M. Smith." Bulletin of Canadian Studies, 2, No. 1 (April 1978), 16-32. Ferns outlines Smith's biography and discusses the inter-relation and importance of Smith's work as a poet, critic, and anthologist. Modernism and high literary standards were contrary to "the Maple Leaf school" and the "jingoism and parochial smugness" of the Canadian Authors Association. Poetry and criticism both needed to change to higher standards. Ferns discusses the application of this theory to Smith's revisions of "The Lonely Land." Ferns analyzes the six sections of Poems: New and Collected, which are divided into classical and Christian myth, nature lyrics, ironic love poems, symbolical and satirical work, social satires, and death and religion. "An elegiac strata runs through Smith's collected poems," but Ferns does not have time to discuss this. "Smith literary criticism is analytical, historical and judicial. He is at his best as a critic in summing up the nature of a particular poet's achievement," for example, Bliss Carman. Although his work on Anne Wilkinson rescued her from undue neglect, "Towards a View would have been more authoritative and definitive if he had presented his choice of the best six or eight modern Canadian poets." Smith is not too academic or cosmopolitan. His poetry "shows a preoccupation with formal perfection and with technical excellence."
C81 Grady, Wayne. "Who Is This Man Smith?". Books in Canada, Nov. 1978, pp. 8-11. An account of the author's impressions of the Georgian Bay Poetry Weekend supplemented by other sources both acknowledged (Desmond Pacey) and unacknowledged (Michael Gnarowski). Factual inaccuracies and questionable interpretations mar this profile. Some information is gained obliquely through Smith's remarks about his associations with Wyndham Lewis and Al Purdy.
C82 Burke, Anne. "Reflections on the A. J. M. Smith Collection." Friends of the Bata Library [Trent Univ.], No. 1 (1978-79), 4 pp. Provides a summary of the collection and attempts to explore its significance for researchers in Canadian studies and the general public.
C83 Marshall, Tom. Harsh and Lovely Land: The Major Canadian Poets and the Making of a Canadian Tradition. Vancouver: Univ. of British Columbia Press, 1979, pp. xiii-xiv, 29, 43-46. Rpt. (revised --"Major Canadian Poets III: The Modernists") in The Canadian Forum, Feb. 1979, pp. 13-17. Marshall notes that the rejection of the Confederation school by Smith, among others, does not "represent a somewhat updated colonialism." Marshall compares the similarities between D.C. Scott's "The Forsaken" and Smith's "The Lonely Land," noting that the closeness between these two poems accounts for Smith's "most perceptive essay so far on the poems of D. C. Scott," and that "... there is more continuity in the development of Canadian poetry than our literary historians have always supposed." Smith's "dictum that Canadian poets ought to pay more attention to their position in time, less to their position in space .... was not, happily, wholly an aberration from the development of native poetic idiom." "In Canada Duncan Campbell Scott could be seen to be considering the possibilities of free verse a generation before Smith wrote 'The Lonely Land' and some years before Pound and Eliot developed their own methods." Yet "... it remains true that Smith and the other poets of his generation brought a new sophistication and technical intelligence to Canadian poetry." Marshall compares the influence to that of Black Mountain and says that the value is for the "later poets who did develop a native idiom .... Moreover, Arthur Smith has written excellent poems, surely justification enough of any man's lifework. The best are the Imagist nature poems.., which are verbal counterparts to the paintings of the Group of Seven, though they are a good deal less colourful .... delicate and beautiful love poems .... and the poems about death, particularly, 'Prothalamium,' which is metaphysical in style and substance and yet wholly transcends pastiche .... The homage to Webster, Shakespeare, and Donne ... all serves to convey a mingled horror and fascination with death that is obviously genuine and deeply personal to the poet .... Smith's customary 'cool' -- expressed in his intricate formal designs -- may itself be a response to and a defiance of the hard fact of mortality, but readers ought to be grateful that his cool is not always kept."
C84 Keith, W.J. "How New Was New Provinces?". Canadian Poetry: Studies, Documents, Reviews, No. 4 (Spring-Summer 1979), pp. 120-24. A commentary on the experience of reading New Provinces in the late 1970s. "Smith's rejected Preface [printed in Michael Gnarowski's revised edition] ... reads as a manifesto. Impressive as it is, however, the material that it was intended to introduce hardly justifies such a ringing call to arms against the 'wishy-washy "dreams"' of his poetic predecessors not social action but 'exact ideas.' The new provinces in question are for Smith not the administrative divisions of Canada but the provinces of the mind .... Smith conceded that in advocating a poetry of sharply-chiselled phrase and finely-honed intellect he was 'only following in the path of the more significant poets in England and the United States.' ... But Smith himself ... is never merely imitative."
C85 MacLaren, J. S. "The Yeatsian Presence in A. J. M. Smith's 'Like an Old, Proud Kang in a Parable.'" Canadian Poetry: Studies, Documents, Reviews, No. 4 (Spring-Summer 1979), pp. 59-64. "Clearly, we are only beginning to understand and document the complexity of the question of inheritance and adaptation in Smith's poetry."
C86 Harvey, Gordon. "A. J. M. Smith and the Classic Shadow." The Compass [Univ. of Alberta], No. 8 (Winter 1980), pp. 1-28. Smith "has been canonized by acclamation and entirely on his own terms." He is really a dilettante "hobbyist" whose poetry is an imitative conglomerate of mannerisms and styles, likewise, he is a "casual and often confused theorist," a victim of the "pressurelessness of Canadian intellectual life." Harvey finds it unfortunate that, while critics have little difficulty conceding that Smith is a "minor" poet, literary historians perpetually overvalue his contribution to Canadian letters.
C87 Dudek, Louis. "A Legacy from A.J.M. Smith." The Gazette [Montreal], 29 Nov. 1980, p. 118. A eulogy. Dudek views Smith as one of the makers of Modern Canadian literature. His high aesthetic standards influenced both his poetry and his criticism. But "The tragedy is that the idea of high art, on which Smith's criticism was premised, has gone into eclipse in our culture."
C88 [Scott, Frank.] "In Memorium: A.J.M. Smith." The League of Canadian Poets Newsletter, 30 Dec. 1980, p. 1. Includes critical biographical reformation. Scott notes that Smith "Died Nov. 21, 1980, the very day of the first publication of the McGill Fortnightly Review, 1925, which began his reputation as a distinguished young poet and critic." "Smith was not only a poet in his own right of remarkable style and excellence, but a superb anthologist .... As Louis Dudek has written, 'He was the critic who first defined and established the modern tradition in Canada and gave it its full proper place after the poetry of Carman, Lampman and Roberts.' "
C89 Woodcock, George. "On A.J.M. Smith." Canadian Literature, No. 87 (Winter 1980), pp. 156-58. A summary of Smith's career, and a personal reminiscence about the extent of his contribution to Canadian literature. Smith was one of our earliest "classical writers." His "poetry has little to do with the Canadian land, moving as it does into areas of literary contrivance and conceit which show Smith recognizing that even if literature derives from experience, the experience of a literary man is likely to be that of books." Smith's "three personae" [as critic, poet, and anthologist] "were very closely related."
C90 Darling, Michael, E. "The Myth of Smith." Rev. of A. J. M. Smith, by John Ferns. Essays on Canadian Writing, No. 20 (Winter 1980-81), pp. 68-76. In his criticism of Ferns's approach in A.J.M. Smith, Darling notes that Smith is more Romantic and less straightforward than Ferns states. Darling also points out a number of errors in fact and interpretation in Ferns's book.
C91 Cogswell, Fred. Rev. of A.J.M. Smith, by John Ferns. The Fiddlehead, No. 129 (Spring 1981), p. 130. In Cogswell's review of Ferns's book, he accuses Smith of having a " 'modern colonial mentality,' " and claims that Smith put Canadian poetry into "a stultifying straightjacket."
C92 Grady, Wayne. "A.J.M. Smith, 1902-1980." Books in Canada, Jan. 1981, p. 10. A brief note which draws on Grady's earlier piece on Smith (C81). He was not particularly preoccupied with his own death. His responsibility for whatever sophistication our poetry possesses is immeasurable and undying.
C93 Foster, Robert.] Editorial. CV/II, 5, No. 3 (Summer 1981), 2. In this post-mortem tribute, Foster briefly acknowledges Smith's contribution to Canadian poetry as an anthologist, a critic, and a poet.
C94 Wayne, Joyce, and Stuart MacKinnon. "Q & Q Interview. F. R. Scott: 'Everything in my life that I did was done with a feeling of making poetry.'" Quill & Quire, July 1982, pp. 16, 18. Scott says, "When I met Smith my real education in poetry began." "Smith enlarged my experience of poetry and opened up the modern world for me." "Smith was more advanced in this [Modern] realm [than Scott] although he had not had the benefit of an Oxford education." Scott thought Smith's rejected Preface to New Provinces was "fine," but E. J. Pratt "was shocked by it."
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C130 Harriet Monroe Memorial Prize, Poetry [Chicago] for "Three Poems" ["The Cry" (B134), "The Mermaid" (B62), and "Surrealism in the Service of Christ" (B135)] (1941).
C131 Guggenheim Fellowship (1941-42).
C132 Governor-General's Award for Poetry for News of the Phoenix and Other Poems (A1) (1944).
C133 Rockefeller Fellowship (1945-47).
C134 D.Litt., McGill University, Montreal, Quebec (1958).
C135 LL.D., Queen's University, Kingston, Ontario (1966).
C136 Lorne Pierce Medal of the Royal Society of Canada (1966).
C137 Centennial Medal (1967).
C138 D.C.L., Bishop's University, Lennoxvllle, Quebec (1967).
C139 Canada Council Medal (1968).
C140 LL.D., Dalhousie University, Halifax, Nova Scotia (1969).
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C102 [Tunis, Albert.] "The Fortnightly's Forthright Four." McGill News, 44, No. 4 (Autumn 1963), 15-20, 30. The four participants were A. J. M. Smith, F. R. Scott, Leon Edel, and Lew Schwartz -- all of whom were associated with the McGill Fortnightly Review. They were interviewed in Montreal on 1 June 1963.
C103 Jansma, Richard. "Interview." Red Cedar Review, 7, Nos. 3-4 (Summer 1971), 44-49. This is a wide-ranging interview. Smith was poet-in-residence at Michigan State University. He discussed Canadian and American poetry, his academic and non-social aesthetic, and the progress of his career.
C104 Darling, Michael. "An interview with A.J.M. Smith." Essays on Canadian Writing, No. 9 (Winter 1977-78), pp. 55-61. Smith speaks about the origins of the McGill Fortnightly Review and acknowledges Yeats's influence on much of his early work, saying that some poems "were too obviously Yeatsian." Quite a bit of critical biographical material is discussed, such as Smith's studies and the reasons he took various high school and university teaching appointments in Canada and the U.S. Smith "liked" New Provinces when it came out, "but I don't much care for it now .... I might object to ... [the rejected Preface] now too. I didn't like Frank Scott's introduction, and I don't think he cared for it much either." For some time, Smith "couldn't get a publisher for" News of the Phoenix. "The Lonely Land" and "The Creek" are "really studies of the movement of water -- each different in its way." "The Lonely Land" is "too romantic, too theatrical"; "'The Creek' is anything but .... But the same rhythmical device is used in both poems." "I'm not sympathetic to ... [the concrete and sound poets]. I think this breathing theory of Olson's is nonsense, though it's illustrated in 'The Creek' and 'The Lonely Land.'"
C105 Johnston, Gordon, and Michael Peterman. "The Voice to Go with the Room." Friends of the Bata Library [Trent Univ.], No. 2 (1979-80). [13 pp.] An informal interview conducted on the occasion of Smith reading from The Classic Shade in the A. J. M. Smith Conference Room at Trent University. Smith reminisces about D.C. Scott, Frank Scott, Jeannie Smith, Theodore Roethke, and Allan Tare. He hints at sources and biographical influences on his poetry but is reluctant to pursue these. The reader is left wanting more than Smith is willing to share.
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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C106 Knowles, E. Clifford. "Correspondence." McGill Daily, 16 Oct. 1925, p. 3. Knowles responds to "Dialogue of a Sunday Night" (B457).
C107 "Not of the Dust." McGill Daily, 26 Nov. 1925, p. 3. An unsigned parody of Smith's poem.
C108 "Not of the Dust." McGill Daily, 1 Dec. 1925, p. 2. Parody by Harry, the janitor of the Arts braiding at McGill and sent in a letter to the editor by Smith.
C109 Dois, Charlie. "The Story of a Poem or 'It Might Happen to Any of Them.'" McGill Daily, 20 Feb. 1926, p. 2. Describes the process by which the editors of the Fortnightly rejected his poem.
C110 Pi, Jack. "Powder Parable." McGill Daily, 12 [sic; II], March 1926, p. 2. Parody of Proud Parable.
C111 Scott, F.R. Letter. The Canadian Forum, June 1928, pp. 697-98. Scott regards "Wanted -- Canadian Criticism" as "excellent advice," but coupled with a "grave misconception of 'first principles.'" "A nation cannot be deliberate about its art: it cannot, without the certainty of imprisoning its soul, 'formulate a critical system.'" "It is true to say that in a country where there are good critics the level of literary attainment will probably be high. But it is a very different matter to say that so soon as a country has found its critics, a native literature will arise. As well hope to hasten the harvest by amassing the harvesters in May .... It would seem rather more than likely that when the first great Canadian writer appears the critics will be the first to attack him .... Mr. Smith's appeal is insidious, because it wears the sheep's clothing of scholarship."
C112 Klein, A. M. "Barracade Smith: His Speeches." The Canadian Forum, Aug. 1938, pp. 147-48. Rpt. in Forum: Canadian Life and Letters 1920-1970, Selections from The Canadian Forum. Ed. J.L. Granatstein and Peter Stevens. Toronto: Univ. of Toronto Press, 1972, pp. 164-67. Klein's poem includes the following subsections: "I Of Violence," "II Of Dawn and Its Breaking," "III Of the Clients of Barnum," "IV Of Psalmody in the Temple," "V Of Faith, Hope and Charity," "VI Of Beauty," "VII Of Poesy," "VIII Of Soporifics," "IX Of Shirts and Policies of State," and "X Of the Lily Which Toils Not."
C113 Dudek, Louis. Letter. The Canadian Forum, June 956, p. 68. Written in response to Millar MacLure's review of The Bull Calf, by Irving Layton. Dudek refutes a past reference made by Smith in "The Recent Poetry of Irving Layton" (B421) that William Carlos Williams was "Layton's master."
C114 Christopher, A.G. Letter. The Canadian Forum, July 1956, p. 86. Smith's praise of Irving Layton in "The Recent Poetry of Irving Layton" (B421) has inspired "lesser lights ... [to hasten] to follow." "I suspect it's not on his [Layton's] poetic merits that he's now acclaimed but on his vigor as a propagandist. For once the critics are completely on the defensive and are positively cowed into applause." The letter is mostly about Layton's propaganda for his own poetry.
C115 Layton, Irving. Letter. The Canadian Forum, Oct. 1956, pp. 160-62. Layton writes in response to A. G. Christopher. He rejects "those white-livered recreants, Frye, Wilson, Smith and MacLure." He takes issue with the "fence-lumping" of critics which Christopher "dreams are running after that old bellwether, A. J. M. Smith." According to Layton, who vehemently opposes Anglo-Saxon values, "the 'ideologism' of Frye and the inhibiting classicism of Smith operate as a culture-osmosis, rejecting 'the awkward and alive,' the aggressively novel; preferring to them the inoffensive, the elegantly polished, the elegiac." The situation of Lores Dudek's poem, "Dirty Stuff," is given as an example of the effects of this "narrowing cultural prejudices"; "... it will never appear in any anthology edited by Messrs. Klinck and Watters, or by Mr. Smith, though in my humble opinion it most richly deserves to." Smith responds in The Canadian Forum, Jan. 1957, p. 237. He suggests that both Layton and Dudek are becoming the ideal objects of classical satire. (See B462.)
C116 Layton, Irving. Letter. The Canadian Forum, March 1957, p. 282. An editorial note indicates that the letter has been abbreviated due to the extended nature of the correspondence which has been in print for nearly a year. Since Smith's "... ear is attuned chiefly to the refined and regulated thump-thump of Augustan verse he finds it insuperably difficult to respond to contemporary rhythmical nuances which mock the literal meaning of the words: ... he perverts racial difference to mean inferiority, and then proceeds to reproach me with his own error." "It is the usual gambit of an ineffectual Laodiceanism to impute humourless self-righteousness to anyone who m any field struggles for some improving change .... To my knowledge, he has never ... fought any battles, unless shadow-boxing in an ivory tower be called such ...." In response to Smith's poetic parody of Layton's views, Layton hopes that in the future Smith may yet be persuaded "to insert the missing 'i'" in "sh-t."
C117 Dudek, Louis. "Parodies of the Canadian Poets: A Scrap from A.J.M. Smith's Notebook." In Laughing Stalks. By Louis Dudek. Toronto: Contact, 1958, p. 27. Rpt. in his Collected Poetry. Montreal: Delta, 1971, p. 173.
O (ah) to write one poem
as crisp and pure as the ice
in this Great Canadian Frigidaire
where my intense and passionate
soul, laid bare,
would become one ... intense and passionate
prayer... (?)
...?...
C118 Dudek, Louis. "The Progress of Satire (For F. R. Scott and A. J. M. Smith)." In his Laughing Stalks. Toronto: Contact, 1958, p. 80. Rpt. in his Collected Poetry. Montreal: Delta, 1971, p. 183. In a poem, Dudek complains, with allusions to Smith and Scott as the causes, that poetry, laws, manners, and weather are getting worse.
C119 Dudek, Louis. "Reply to Envious Arthur." Delta Montreal], No. 2 (Jan. 1958), pp. 24-25. Rpt. in Laughing Stalks. By Lores Dudek. Toronto: Contact, 1958, pp. 43-45. A response to Smith's poetic lambast of Layton and Dudek in The Canadian Forum, May 1957 (B153). Smith's satire is printed above Dudek's poem and is written in couplets of, for the most part, iambic pentameter. Dudek's verse is also written m couplets, though the rhymes don't always match, and the general iambic pentametric pattern is only randomly adhered to. Dudek asserts that Smith's complaint is generated from his own envy: "You lack recognition for your pains / In whispering over the last cold remains / Of your talent, or for Scott and Klein." "Before you'd published any book you / Had old Professor Collin sing hosanna / To you, in his windy White Savannahs." Smith "... took the critics in! / Almost posthumously, it might be said, / Since as a poet you were good as dead." "You wrote, in ignorance of 'traditions', 'trends', / 'The Cosmopolitan', 'The Native' -- nonsense without end." "And not a poem but was cribbed, 'tis said, / From Yeats, Pound, Auden, or the greater dead."
C120 Layton, Irving. Letter. The Canadian Forum, Feb. 1958, p. 255. Layton expresses delight at being the inspiration for Smith's poem in The Canadian Forum (January 1957, page 237) (B149), and offers one of his own in rebuttal.
C121 Layton, Irving. "The Myth of Smith." In his A Laughter in the Mind. Highlands, N.C.: Jonathan Williams, 1958, pp. 51-52; Montreal: Orphee, 1959, pp. 66-67. A poetic attack on Smith.
C122 Layton, Irving. "To a Lily." Cataract, 1, No. 2 (Winter 1962), n. pag. Poem.
C123 Gustafson, Ralph. "For Arthur Smith and Irving Layton: As If They Were All Dead." In his Sift in an Hourglass. Toronto: McClelland and Stewart, 1966, p. 41.
C124 Colombo, John Robert. "Anthologist." In his Praise Poems. Toronto: Weed/Flower, 1972, p. 19. Acrostic with AJM SMITH as letters.
C125 Gustafson, Ralph. "For Arthur Smith." In his Selected Poems. Toronto: McClelland and Stewart, 1972, p. 106. Poem.
C126 Proc. of A.J.M. Smith: A Symposium, Michigan State Univ., East Lansing, Mich. 8 May 1976. Convened by the Committee of Canadian-American Studies to study the life, career, and works of its colleague. The five conference papers remain, to date, unpublished as a group, and are listed individually in this bibliography. The papers are Sandra Djwa's "A. J. M. Smith: Of Metaphysics and Dry Bones" (C67), Leon Edel's "The Worldly Muse of A. J. M. Smith" (C68), Eli Mandel's "Masks of Criticism: A.J.M. Smith as Anthologist" (C69), M.L. Rosenthal's "'Poor Innocent': The Poetry of A. J. M. Smith" (C70), and F.R. Scott's "Arthur James Marshall Smith: A Memoir" (C71).
C127 Layton, Irving. "A Poem to Calm the Nervous Fears of the Very Reverend Arthur Smith." Northern Journey, Nos. 7-8 (June 1976), p. 105. satirical poem.
C128 Ross, W. W. E. Letters to A.J.M. Smith. In "On Poetry and Poets: The Letters of W. W. E. Ross to A.J.M. Smith." Ed. and introd. Michael E. Darling. Essays on Canadian Writing, No. 16 (Fall-Winter 1979-80), pp. 78-125. These previously unpublished letters include 20 March 1944, 14 April 1944, 7 Oct. 1948, 20 March 1950, 6 April 1955, 27 Dec. 1957, 19 Jan. 1958, 28 Jan. 1958, and 29 Oct. 1962. News of the Phoenix shows "a potency, or concentration of poetic value" unlike most works Ross has seen in Canadian verse. The book is "stronger at the beginning and the end than m the middle." Smith does not adequately represent himself in The Book of Canadian Poetry, but he does include a number of excellent poets m that volume. In the second edition of The Book of Canadian Poetry, "the arrangement is considerably improved." Among the "newcomers" to the Canadian poetic scene, Smith's and Avison's "are the only ones that satisfy ... [Ross's] demand for adequate form, in its widest sense, including rhythmic balance, the sound, etc., -- with the exception of a few odd items like Anderson's Camp." Ross notes that the first edition of The Oxford Book of Canadian Verse "was a mess!" Scott and Smith "deserve credit for a neat lob [in The Blasted Pine], seeing that all this verse has been in print before without setting anything on fire." But, although the "very Upper Canada atmosphere" is intentional, "... I fear, sir, that some of the contents of this book may stir that rascal MacKenzie to renewed efforts" and "... one is on dangerous ground in &splaying inferior stuff for any reason at all, however worthy." Ross is angered that, regardless of the repeated corrections that he sent Smith concerning two of his poems, these poems appear in their original and incorrect form in the third edition of The Book of Canadian Poetry and demands that, if these poems are included in The Oxford Book of Canadian Poetry, they either appear m their correct forms or are deleted entirely. Ross Includes several previously unpublished poems. "Air with Variations" includes a parody of Smith's "Like an Old Proud King in a Parable" and "A Dose of Canadiana" criticizes The Blasted Pine for exposing bad poetry, even if with a humorous intention.
C129 Woodcock, George. "The Dream." In his The Mountain Road. [Fredericton:] Fiddlehead Poetry Books, 1980, p. 42. A poem for and about Smith.
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
Item Number: ABCMA04ASP2000004004003005
Record: 129- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; A Sort of Ecstasy. Poems: New and Selected
- Other Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 4
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- Burke, Anne (compiler)
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- Bibliography
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: SORT of ecstasy. Poems: New and selected, A (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP2
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Part 2 Works On A.J.M. Smith; Selected book reviews; A Sort of Ecstasy. Poems: New and Selected
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D16 House, Vernal. "Phoenix Again." The Globe and Mail, 11 Dec. 1954, p. 15. A favourable evaluation of Smith's works. His poetry is "straight-forward" and "free of affectation."
D17 Bourinot, Arthur S. "Poems: New and Selected." The Gazette [Montreal], 18 Dec. 1954, p. 27. Bourinot praises a number of Smith's poems, noting that "Ode: The Eumenides" is the best, that Smith excels in sonnets like "The Plot against Proteus," and that he finds weakness only in "Quietly to Be Quickly."
D18 Frye, Northrop. "Letters in Canada: 1954. Poetry." University of Toronto Quarterly, 24 (Jan. 1955), 249-50. Rpt. in his The Bush Garden: Essays on the Canadian Imagination. Toronto: House of Anansi, 1971, pp. 36-37. Frye describes Smith as a "careful," "sparing," and "scholarly" poet whose poetry is intensely visual and conceptual: "it slowly clarifies, but it does not dance." He feels Smith's natural bent for Romantic landscape poems m the Carman tradition has been diverted by political and religious obstacles. He interprets "intellectual irony" as an attack on these obstacles.
D19 McDonald, G. D. Rev. of A Sort of Ecstasy. Poems: New and Selected. Library Journal [N.Y.], 1 Jan. 1955, p. 80. A brief, but positive, review. There are varied contents and techniques in Smith's poetry, yet it is reminiscent of the earlier Eliot. His wit is playful, sardonic, and sombre, but always alive and stimulating.
D20 Ciardi, John. "Recent Poetry." The Nation, 22 Jan. 1955, p. 77. "Smith has grace and charm, but his serious poems sound too much like the fashionable thing to do -- or fashionable fifteen years ago -- and his lighter ones flake off trying to satirize the obvious."
D21 Johnson, Sydney. "The Collected Poems of A. J. M. Smith." The Montreal Star, 22 Jan. 1955, p. 17. Smith's best quality is his craft. His serious poems reflect all bitterness and agony.
D22 Crawley, Alan. "Critically Speaking." Rev. of A Sort of Ecstasy. Poems: New and Selected, by A. J. M. Smith; Events and Signals, by F. R. Scott; and The Metal and the Flower, by P. K. Page. CBC, 30 Jan. 1955, n. pag. [2 pp.] An anecdotal piece. In The Book of Canadian Poetry Smith's eager, alert mind is casting aside tattered phrases, careless construction, and tawdry sentiment with quick assured comment. He achieved artistic perfection in A Sort of Ecstasy. Smith is controlled, intellectual, and entirely civilized; he has stature, gait, mental and emotional stability. Crawley refers to the finely wrought "A Dream of Narcissus" and the exquisite little poem "Field of Long Grass." There is an allusion to a CBC broadcast in which Smith made notes and comments on the poems and on their making "several weeks ago." Crawley had hoped for more personal commentary, but A Sort of Ecstasy does reveal the influence on one man's work of the changes in poetic trends and in our ways of thinking and of outlook.
D23 Wilson, Milton. "Turning New Leaves." The Canadian Forum, Feb. 1955, pp. 257-58. Despite thickness of texture and narrowness of theme which the reviewer attributes to much Modern poetry, Smith's poetry achieves its best effect m two types, the descriptive poem and the poem about poetry.
D24 Woodcock, George. "Recent Canadian Poetry." Queen's Quarterly, 62 (Spring 1955), 113-14. Woodcock expresses reservations about the inclusion in this volume of several pieces of parody. He finds that many of the other poems, m particular, "The Lonely Land," demonstrate a "balance of sensibility and intelligence whose result is powerful in feeling and accurate in comment."
D25 Pacey, Desmond. Rev. of A Sort of Ecstasy. Poems: New and Selected. The Fiddlehead, No. 25 (May 1955), pp. 13-14. Pacey regards Smith as a very exigent critic of his own work. Most of the best poems are reprinted from News of the Phoenix while the new poems are inferior. The best of his poems are finely fashioned, hard, cold, clear, and brief. He excels in three types of poetry: landscape, ironic social commentary, and love lyrics.
D26 Sebastian, John. "Not Representative Canadian." Spirit, 22 (July 1955), 92-94. The reviewer takes issue with a publisher's note that Smith is "outstanding" as a Canadian poet. This critic finds the collected pieces disparate -- as if written by a considerable number of men. Particular poems are cited -- "The Sorcerer" is newspaper versification; "Noctambule" has a pseudo-modernese style attractive to the editorial eccentricities of Poetry [Chicago]; and he objects to the arrant blasphemies of "Resurrection of Arp."
D27 Meredith, William. "A Lot of Poems and a Bit of Theory." Hudson Review, 7 (Winter 1955), 594-602. Despite modern cliches of a stock irony and a stock apocalypticism, "Mr. Smith is a simpler and a more powerful poet than he sometimes gives himself credit for."
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Record: 130- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; Collected Poems
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- Part 2 Works On A.J.M. Smith; Selected book reviews
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: COLLECTED poems (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
ISBN: 920802524 (hardcover)
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Source: Part 2: Works On A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 310-366
Part 2 Works On A.J.M. Smith; Selected book reviews; Collected Poems
Burke, Anne (compiler)
D28 O Broin, Padraig. "Crisp Pride Powers Poems." The Globe and Mail, 24 Nov. 1962, p. 13. Smith is strongly influenced by Yeats, Eliot, and the metaphysicals -- perhaps too obviously. His voice and poetic are marked by pride and crispness. O Broin wonders if Smith is consciously using pastiche m many of the poems, or if they are simply unconscious imitations.
D29 Dudek, Louis. "'Aesthetic Master of Canadian Poetry.'" The Montreal Star, 1 Dec. 1962., Sec. Entertainments, p. 13. Smith's austere poetics are balanced with life-affirming Realism. Collected Poems is "the most artistically satisfying contribution to Canadian poetry for the period 1930 to the present." His best poems have a lasting, classic quality.
D30 G., J. W. "Literature and Life: Poems from an Old Revolutionary." The Ottawa Journal, 29 Dec. 1962, p. 30. Smith's poems are no longer revolutionary, but they stand a good chance of winning a Governor-General's Award.
D31 Dudek, Lores. "A Load of New Books: Smith, Webb, Miller/Souster, Purdy, Nowlan." Delta [Montreal], No. 20 (Feb. 1963), 27-28. Rpt. in his Selected Essays and Criticism. Ottawa: Tecumseh, 1978, pp. 168-74. Dudek divides the authors whose books he analyzes into two classes. Smith (whose lineal descendant is Jay Macpherson) is grouped with Phyllis Webb and Peter Miller (who resembles Patrick Anderson). The school of Souster and First Statement is clearly apparent in the poetry of Purdy, Acorn, and Nowlan. Dudek lauds Smith as our miglior fabbre and the "unacknowledged sire" of Canadian Platonic and Christian ascetic poets. "It is what most of our confessional poets have most to learn: the lesson of Smith." An anatomy of the book is provided: familiar poems form the big vertebrae and new poems constitute the smaller joints and tissue. This collection may be the most durable poetry published in Canada. Dudek regards the five dramatic parts of the book as distract. Part I offers the thesis and aesthetic of Platonic renunciation, II the Canadian landscape, III renunciation, IV chaos and conflict, V death. Poems within each unit are concerned with the world of Platonic appearances and discords. For example, "The Lonely Land" depicts specifically Canadian landscape and the world of nature. He hints at Smith's aesthetic vision as a combination of Keats and Baudelaire. A sense of life-denial is tempered by delight, lust, and humour. The conclusion is rhetorical: "... is it the poet's fault that death and time at last swallow the whole damn creation? He is only a recorder of the catastrophe."
D32 Hambleton, Ronald. "Influential Poetry -- But Unoriginal." Commentator, Feb. 1963, pp. 17-18. According to Hambleton, Smith is the least original and the most influential of Canadian poets, a typical reflection of Canadian cultural life (imitation of British and American models). To be original is to be able to assimilate the influences of childhood. Hambleton also dislikes the design of the book.
D33 Woodcock, George. "Turning New Leaves." The Canadian Forum, Feb. 1963, pp. 257-58. Rpt. ("Review of A. J. M. Smith's Collected Poems") in The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 120-25. Rpt. ("Two Aspects of A.J.M. Smith") in Odysseus Ever Returning: Essays on Canadian Writers and Writing. By George Woodcock. New Canadian Library, No. 71. Toronto: McClelland and Stewart, 1970, pp. 111-15. "There are few poets whose work keeps well over a generation; Smith is one of them ... not merely in Canada, but in the whole English-speaking world." "Smith ... is a poet little bound by time or place": "parochial cosiness is rare" and his landscape poems feel "mythological." Woodcock entitles the five sections in the book "Yeatsian Philosophical, Imagistic, Rococo Pastoral, Satire and Parody, and Metaphysical Contemplation of Death." The derivative sound of the titles shows not merely imitation, but Smith's "sublime forms of literary criticism." "Smith's aims are spareness, clarity, balance, the austerity of a latter-day classicism enriched by the discoveries of the Symbolists and the Imagists."
D34 Miller, Mary. "The Bookshelf: Ottawa Public Library Sunday Radio Review." CJET, CFRA, CFMO, Feb. 1963, 5 pp. The nonchronological arrangement of the Collected Poems fails to show Smith well -- for example, his own achievement is not clear because it is complicated by the profound influence of T. S. Eliot. "To Hold in a Poem" is an example of Smith giving direction and understanding to Canadian poets about the challenge Canada presents to the form and shape of poetry.
D35 Benson, Nathaniel. "Clipping the Wings of the Phoenix." The Telegram [Toronto], 9 Feb. 1963, p. 4. Smith "has parlayed 10 cents of talent for 10 hundred dollars worth of recognition" and "is by far and without fear of contradiction the Most Unintelligible Bardling who ever scrambled his symbols." His poetry lacks lucidity, depth, and "spirituality," and "he is far too busy preening his intellectual plumage into narcissistic patterns to achieve any flight longer than a few tortured acrostics of 15 to 20 lines." Benson attacks Smith's immodest association of himself with the phoenix and his inclusion of himself in The Book of Canadian Poetry while omitting such major poets as Wilson Macdonald and Pauline Johnson.
D36 Howith, Harry. "Five Poets." Canadian Author & Bookman, 38, No. 3 (Spring 1963), 9-10. Smith, along with F. R. Scott and A.M. Klein, produced the "new" poetry, doing away with Georgian prettiness. Smith is "Old Master now." His ultimate stature is as a good minor poet, "not great, but he is good." More specifically, he exhibits craftsmanship, an intelligent use of myths, and control.
D37 Pacey, Desmond. "Three Good Books." The Fiddlehead, No. 56 (Spring 1963), pp. 61-62. The reviewer's response is "pride mixed with sadness": the first is for poems produced by a Canadian whose influence on our literature spans forty years, the second is that Smith may regard his poetic career as almost over, as suggested by the title and paucity of new poems.
D38 Hughes, Peter. "The Stagers of Vinland." Alphabet, No. 6 (June 1963), pp. 63-64. A positive review that briefly examines Smith's work as stark and changeable. The reviewer cites examples of the unique use of sources and some new images of a hostile Nature. The allusions range from the grim to the crapulous. Smith may be oblique or cutting, but most like Robert Graves in being "always himself." The death songs and "The Bridegroom" are his best work, "rare as his phoenix, terse as his knives."
D39 Stepanchev, Stephen. Rev. of Collected Poems. The New York Herald Tribune Books, 9 June 1963, p. 6. A brief review which praises specifically Canadian poems such as "The Lonely Land" by which an American reader "feels the pressure of new experience."
D40 Mathews, Robin. "Canadian Poetry and Fiction." Queen's Quarterly, 70 (Summer 1963), 282-83. Mathews explores what he sees as the failure of Canadian artists to create masterpieces. Both Lowry and Smith lack humility, whereas "the nasty young Proletarians of Vancouver/Montreal" suffer from their puritan dilemma. "They have been unable by insolence to do what their elders and betters have been unable in their ripe humility to perform."
D41 Wilson, Milton. "Letters in Canada: 1962. Poetry." University of Toronto Quarterly, 32 (July 1963), 371-73. Although sixty percent of the poems are from the previous two volumes (News of the Phoenix and A Sort of Ecstasy), the new poems are some of the best. The reviewer refers to Smith's "poetic frugality." Of Smith's influence and reputation, Wilson observes "Smith must by now have got used to being depreciated as a poet only to be praised as an influence, or perhaps (more grandly) as the shaper of the contemporary movement in Canadian poetry. The publication of these Collected Poems should help to redress the balance. In fact, his influence has been remarkably abstract and indirect, both as poet and as anthologist. There is no school of Smith in Canadian poetry today, and never has been. It's all in this book."
D42 Kunitz, Stanley. "Many Exertions, Some Excellences." The New York Times Book Review, 21 July 1963, pp. 4-5. Kunitz regrets Smith's ambiguity of taste which was responsible for the juxtaposition of the best poems with naive verse. A more selective offering would have directed the reader's attention to an unmitigated triumph like "The Two Birds." "Ballade un peu banale" is delightful.
D43 Rosenthal, M.L. Rev. of Collected Poems. The Reporter, 12 Sept. 1963, p. 56. Rosenthal lauds Smith's poetry in this lengthy review article. "At its best, the writing of A. J. M. Smith has always had an irreducible purity that perhaps comes closer to absolute right taste in his art than most good poets now writing could claim ...." He comments on Smith's unfaltering If sometimes elusive emotional truthfulness, the influence of Mallarme and Yeats, and, most importantly, his rare feeling for the implied resources of language. He refers to Smith's serious light verse.
D44 "Poets of Today." The Times Literary Supplement, 20 Sept. 1963, p. 706. Smith was "one of the brightest ornaments of New Verse in the nineteen-thirties, and did much to bring a new sensibility and vitality to the poetry of his native Canada." Regards the poems as private, since "few readers (outside North America) can know much about F. R. Scott or Louis Dudek or Irving Layton ...; references to them may leave most non-Canadians cold." The reviewer claims that Smith's interest is in a serious and passionate romanticism.
D45 Flint, F. Cudworth. "Nineteen on the Slopes of Parnassus." Virginia Quarterly Review, 39 (Autumn 1963), 678. Echoing Collin's assessment, Flint views Smith as a distinguished renovator, editor, and critic of his country's poetry. "Mr. Smith's phoenix sometimes warbles melodies adapted from a wide variety of sources: Donne, Blake, Yeats (he especially), Mallarme, Edith Sitwell. He sings most memorable when solitary in the Canadian wilds."
D46 Guy, E. F. Rev. of Collected Poems. The Dalhousie Review, 43 (Autumn 1963), 437, 439, 441 Smith's pessimistic view that people are constantly prevented from attaining sensual and loving pleasures, and that only in art is ecstasy achieved, suggests that the phoenix is an inappropriate symbol for his work. He is a difficult poet with an occasional "crypto-grammatic utterance," but repays study. His influence has been important, though his output has been small.
D47 Skelton, Robin. "Canadian Poetry?". The Tamarack Review, No. 29 (Autumn 1963), pp. 71-82. Smith is compared with other Modern Canadian poets. "He has none of the paranoid aggressiveness of Layton, and is as clever as Birney without being so superficial." If he has any fault, it is his abstractions, but Skelton suspects Smith may only now be coming into his own.
D48 Skelton, Robin. Rev. of Collected Poems. Critical Quarterly, 5 (Autumn 1963), 280. Smith is "bewildering deft" in his handling of a wide variety of forms, his ability to control passion and rhetoric with irony. The poetry, in this "masterly" book, is "resolutely Intelligent, and continually disciplined."
D49 Marshall, Joyce. "Canadian Poets and Their Mythologies." The Montrealer, Oct. 1965, p. 40. A general article on Modern Canadian poets. Smith is classed with those Canadian poets who are troubled by the emptiness of their landscape and, determined to fill it up quickly, snatch at some handy archetypal figures. The qualities attributed to his poems include "superbly lucid," "crystalline," and "scrupulous style and cool attack."
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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Record: 131- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; Masks of Fiction: Canadian Writers on Canadian Prose
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- Part 2 Works On A.J.M. Smith; Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 4
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: MASKS of fiction: Canadian writers on Canadian prose (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Part 2 Works On A.J.M. Smith; Selected book reviews; Masks of Fiction: Canadian Writers on Canadian Prose
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D142 Pacey, Desmond. "A Group of Seven." The Fiddlehead, No. 51 (Winter 1962), p. 64. For Pacey, the book is "adventurous enough, since it is the first collection of articles by Canadian critics on Canadian prose ever to appear, and if it can whet the public appetite for Canadian literary criticism, it will amply lustily itself ...."
D143 West, Paul. "Canadian Fiction and Its Critics." The Canadian Forum, March 1962, pp. 265-66. Ostensibly a review of Masks of Fiction, but actually a brief discussion of Canadian fiction and its criticism.
D144 Kreisel, Henry. "Letters in Canada: 1961. Humanities." University of Toronto Quarterly, 31 (July 1962), 478-79. For Kreisel, Smith's premise is that the historical or sociological approach to Canadian prose literature may not be the most useful approach. The author is disappointed with the section entitled "The Writer Himself."
D145 McDougall, Robert L. Rev. of Masks of Fiction: Canadian Writers on Canadian Prose. Queen's Quarterly, 69 (Autumn 1962), 462-63. An omnibus review of New Canadian Library reprints, of which only Masks of Fiction is an original. According to McDougall it is the "only volume of the group about which I have reservations." Smith's introductory remarks as to the non-adoption of a special standard in judging Canadian books is considered a "tired thought." The selections constitute "a narrow and inbred book."
D146 Bickerstaff, Isaac [Don Evans]. "Series on Series: New Canadian Library -- Part Two." Rev. of Masks of Fiction: Canadian Writers on Canadian Prose, and Masks of Poetry: Canadian Critics on Canadian Verse. Books in Canada, Sept. 1973, p. 26. Bickerstaff briefly cites the publication of Masks of Fiction, describing five of its thirteen essays as "notable."
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Titles critiqued: MASKS of poetry: Canadian critics on Canadian verse (Book)
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Part 2 Works On A.J.M. Smith; Selected book reviews; Masks of Poetry: Canadian Critics on Canadian Verse
Burke, Anne (compiler)
D147 Beattie, Munro. "Letters in Canada: 1962. Humanities." University of Toronto Quarterly, 32 (July 1963), 407-08. The collection is remarkably discrete, convenient, and at least half the selections are worth reading. The selections tend to reverse the unifying theme of the impact of poetry on culture and society of Canada.
D148 Bickerstaff, Isaac [Don Evans]. "Series on Series: New Canadian Library -- Part Two." Rev. of Masks of Fiction: Canadian Critics on Canadian Prose and Masks of Poetry: Canadian Critics on Canadian Verse. Books in Canada, Sept. 1973, p. 26. The critic observes that "... though you may not find L. A. MacKay's 'Bliss Carman: A Dialogue' to your taste, Irving Layton's 'Foreword to A Red Carpet for the Sun' certainly bears tolerant attention ...."
D149 New, William H. "A Search for Sensibility." Canadian Literature, No. 27 (Winter 1966), pp. 63-65. New acknowledges the difficulty of length in choosing selections from "non-belletristic writings" and notes that, although "Smith is a good editor," "the items he includes are not at the last as self-contained as one would like to see them, nor do they connect smoothly into a larger single unit as a book." "There are noteworthy exceptions," yet other works by the same writers "add to the book's patchiness .... " There is some "lightness" in the character, dialect, and humour in some of the selections. In the Introduction, the topic of "sensibility" "is nebulous, and the proliferation of words like 'usually' and 'generally' does not help to give it form." But "m many ways," the Introduction is "the most valuable part of the book." The book is "an introductory" study and is "useful," "but ultimately unsatisfactory."
D150 Conron, A. B. "Canada's Heroic Age." The Canadian Forum, Jan. 1966, pp. 234-45. In Conron's view, the book title reveals a lack of modesty. It is an interesting and unique anthology, a companion to The Book of Canadian Poetry. But it omits French and The Literary Garland genteel literature, and needs to be expanded.
D151 Cogswell, Fred. "Good Exposition vs. Bad Belles Lettres." The Fiddlehead, No. 68 (Spring 1966), p. 72. Cogswell finds the book to be a compilation of extracts, mainly factual, and expository writing. Only the Brooke, Richardson, Moodie, Haliburton, and Howe extracts are literary. The editor has selected wisely, but has been unduly deprecatory of the belles lettres tradition in Canadian letters.
D152 Waterston, Elizabeth. "Our Prose." Alphabet, No. 13 (June 1967), pp. 83-85. Waterston summarizes Smith's career as a respected poet and compulsive anthologist. Although many of the writers do not prove his thesis, the Introduction is lively and challenging. "Will someone now come out with Other Canadians -- in Prose?"
D153 Charlesworth, Roberta. Rev. of The Canadian Experience: A Brief Survey of English-Canadian Prose and The Book of Canadian Prose: Early Beginnings to Canadian Confederation. The Quarterly of Canadian Studies for the Secondary School, 4, No. 1 (1975), 60-63. The Book of Canadian Prose contains seven of the fifteen pre-Confederation writers from The Colonial Century and seventeen of the forty-one writers from The Canadian Century. There is an over-emphasis in the contemporary section on narrative which is realistic or condescending m tone. The reviewer lauds Smith's choice of a selection from Frances Brooke's The History of Emily Montague as a source of spirited class discussion.
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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Record: 133- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; Modern Canadian Verse: In English and French
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- Part 2 Works On A.J.M. Smith; Selected book reviews
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Titles critiqued: MODERN Canadian verse: In english and french (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
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Part 2 Works On A.J.M. Smith; Selected book reviews; Modern Canadian Verse: In English and French
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D154 Pearson, Alan. "Best Man for the Job." The Montreal Star, 28 Oct. 1967, Sec. Entertainments, p. 6. This anthology is good, Pearson maintains, but the French-Canadian poets should not have been included because they detract space that could have been used for more English-Canadian verse, and those interested in French-Canadian work will likely look to fully French-Canadian anthologies.
D155 Ethier-Blais, Jean. "Deux anthologies." Le Devoir, 11 nov. 1967, p. 13. Smith a bien choisi parmi les poetes canadiens-francais, et l'attention qu'll accorde a chacun d'eux est satisfaisante. Les selections demontrent une comprehension approfondie des themes et motifs de la poesie canadienne-francaise.
D156 Weaver, Robert. "An Abundance of Books of Canadian Poetry." Toronto Daily Star, 9 Dec. 1967, p. 36. Weaver claims that Smith has made a "just and intelligent" selection, but has not adequately represented Irving Layton or Raymond Souster and has not included any poems which evoke strong emotions.
D157 Richler, Mordecai. "Maple Leaf Culture Time." New Statesman, 26 Jan. 1968, p. 111. Richler surveys recent anthologies. Smith's contribution is "handsomely produced, represents our established poets intelligently and introduces a number of lively young voices... ; it can be offered without apology."
D158 Gellantly, Peter. Rev. of Modern Canadian Verse: In English and French. Library Journal, 15 Feb. 1968, p. 757. "Here, for the first time, is displayed the whole astonishing range and variety of the contemporary output in Canada." The reviewer cites Birney, Grandbois, Layton, Lowry, and Daniells as significant. "As for omissions, there are few of consequence ...."
D159 "Two Cultures." The Times Literary Supplement, 15 Feb. 1968, p. 155. "Despite the national advantage of literary practice in two great international languages... Canadian verse as a whole goes almost unnoticed elsewhere than m Canada." Arthur Smith is accepted as spokesman, marshal, and leader of Canadian poets. "The younger generation of English-Canadian poets ... no longer needs the protection and excuse of the national adjective. They are poets and they are cosmopolitan. Since the beginning of the Second World War ... some at least among the French have reduced their poetry with xenophobia."
D160 Symons, Julian. "A National Style?". Canadian Literature, No. 36 (Spring 1968), pp. 58-61. In analyzing Smith's selections, Symons notes that to a foreign eye and ear, F. R. Scott and Finch are coarse and derivative, while Pratt is mechanical, and Avison original. Smith, Glassco, Layton, and Hine write in the European Modern tradition. Jones and Rosenblatt are wholly derivative, "as young poets running hard down the road to nowhere." "Of course Mr. Smith is right in saying that instantaneous communication and 'the universal half-education supplied by the mass media' have largely eliminated 'the distinction' between a native and a cosmopolitan tradition ...." "This collection contains a great deal of talented verse which ... cannot be called parochial or narrowly nationalistic. The reverse may perhaps be true: ... what Canadian poetry most lacks ... is a truly national style."
D161 Rev. of Modern Canadian Verse: In Enghsh and French. British Book News, June 1968, pp. 457-58. Briefly mentioned as a worthy successor to the Oxford Book of Canadian Verse. Most of the poems will be new to non-North American readers. Despite the variation in styles and standards, there is evidence that the young Canadian writers are "lively and accomplished."
D162 Maxton, Hugh. Rev. of Modern Canadian Verse: In English and French. Dublin Magazine, 7, Nos. 2-4 (Autumn-Winter 1968), 111. Maxton comments that Canada has no equivalent to Pearse Hutchison or Eoghan O Tuairisc writing in two languages. There is an absence of language-guilt or inferiority. The English of Canadian verse seems to be little different to standard, international English. "Mr. Smith skates delicately over this leveling down."
D163 Barbour, Douglas. Rev. of Modern Canadian Verse: In English and French. Quarry, 17, No. 2 (Winter 1968), 45. Barbour maintains that each author is so poorly represented that Smith has done a fair-to-middling job. His selections are surprising, especially his choice of the second part of Henry Beissel's New Wings for Icarus which is insulting. There are some discoveries, such as John Newlove, Robert Hogg, and D. G. Jones. This is a lovely book and will be the anthology for quite a few years.
D164 Haresnape, G.L. "Contemporary Verse in the Commonwealth." English Studies in Africa, 12 (Sept. 1969), 192-94. The anthology is reviewed as a partial sample of Modern verse in the Commonwealth. The poems reflect the general disillusionment in Western life, including a deliberate cultivation of the sordid in reaction against nineteenth-century Romanticism. Canadian poetry is not distinctively or peculiarly Canadian.
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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Record: 134- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; News of the Phoenix and Other Poems
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- Part 2 Works On A.J.M. Smith; Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: NEWS of the phoenix and other poems (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
ISBN: 920802524 (hardcover)
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Part 2 Works On A.J.M. Smith; Selected book reviews; News of the Phoenix and Other Poems
Burke, Anne (compiler)
D1 C[larke]., G[eorge]. H[ebert]. "Canadian Poets and Their Critics." Rev. of News of the Phoenix and Other Poems and The Book of Canadian Poetry: A Critical and Historical Anthology. Queen's Quarterly, 50 (Winter 1943-44), p. 434. Clarke mentions Smith's association with McGill Fortnightly Review and the younger Modernist School in North America. While he feels that most of the poems m this volume display a "keenly sensitive mind and a sharp, nervous technique," he sees several of them as "strained exercises."
D2 Magee, Arch. Rev. of News of the Phoenix and Other Poems. The Narrator, Jan. 1944, p. 42. Smith is one of the most brilliant of the younger Canadian poets. He uses interlinear suggestion, is refined, and economic. He compels the attention and respect of the reader.
D3 Martin, Burns. "New Books." The Dalhousie Review, 23 (Jan. 1944), 478-79. The review is largely devoted to On Canadian Poetry by E. K. Brown. Of Smith, "if he is one of the most difficult of Canadian writers, he as one of the most rewarding." The difficulty is due to extreme concentration of thought and language. Of "The Lonely Land," Burns remarks, "At last Canadian poetry has discovered the Canada that Canadian art discovered for us at the beginning of the century."
D4 D., A. A. Rev. of News of the Phoenix and Other Poems. United Church Observer, 15 Jan. 1944, p. 8. Smith is "the most distinguished member of the Montreal group." He shows "outstanding intellectualism" and a "tenacity of purpose." His poems have a "beautiful austerity."
D5 Klein, A. M. "The Poetry of A. J. M. Smith." The Canadian Forum, Feb. 1944, pp. 257-58. Klein offers a sensitive and very sympathetic view of Smith's poetry. "All of his poems, like his own skin, have grown with him." Klein observes, "for almost two decades Smith has been one of the major influences not only upon that sodality known as the Montreal Group, but upon all the younger Canadian writers of verse."
D6 Van Gogh, Lucy [B. K. Sandwelt]. "A Blaze of Poetry." Saturday Night, 18 March 1944, p. 19. Smith has an excellent ability to convey the sense of "horror that he who has not felt has not fully lived." The precision and unity of his poems are crystalline.
D7 Brown, E.K. "A. J. M. Smith and the Poetry of Pride." Manitoba Arts Review, 3, No. 5 [sic; 4, No. 1] (Spring 1944), 30-32. Rpt. (revised) "Letters in Canada: 1943. Poetry." University of Toronto Quarterly, 13 (April 1944), 308-10. Rpt. in The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 95-98. Rpt. in Responses and Evaluations: Essays on Canada. By E. K. Brown. Ed. and introd. David Statues. New Canadian Library, No. 137. Toronto: McClelland and Stewart, 1977, pp. 83-86. Brown is disappointed that twelve of the thirty-nine poems in News of the Phoenix are reprints, but accords this lack of new poetry to Smith's "exigent" and "haughty temperament." Brown draws a parallel with Yeats's "aquiline" temperament. "... Mr. Smith takes an austere and intense delight" in a "harsh word." "If a tree is conceded blossoms, it is a twisted tree .... " "Almost equal severity stamps the religious poems ... [which are now] almost in the dominant place .... A line or two ... is infused with gentleness ... but ... [they] are among the least successful in the book .... Mr. Smith's theory of poetry leaves an honoured place for satire and light verse." His "disgust with bourgeois values has a searing strength." These satires "more clearly than any others in the book, make plain the pride and severity of temperament." News of the Phoenix is a "proud, hard, noble and intense book" of "triumphant virtuosity" and is written in "many manners."
D8 Livesay, Dorothy. Rev. of News of the Phoenix and Other Poems. First Statement, 2, No. 6 (April 1944), 18-19. A mixed response. Livesay evaluates his poetry in terms of both his contributions -- "intimate, intellectually exciting adventures" and a technique "which is always interesting, often flawless" and of his failure that "is not of his own making." The limitations include a lack of range, an absence of rhetoric, and an attitude of withdrawal. The poetry is dated, and "without a gram of native, salty flavour," written for a coterie of Eliot and Yeats devotees. "In the present mood of the world, such poetry will not give sustenance nor direction."
D9 Deacon, William Arthur. "Governor-General's Annual Literary Awards Present More Than Usually Interesting Winners." The Globe and Mail, 15 April 1944, p. 16. This award is "the most striking breach with tradition in the whole decorous history of Canadian literature .... The choice of News of the Phoenix is only comparable to Tim Buck suddenly becoming Prime Minister of Canada." Deacon is sarcastic about "The Face," but suggests that Smith's voice is, nonetheless, original and vital.
D10 Humphries, Rolfe. "What Price Recognition?". The New Republic, 8 May 1944, p. 634. The reviewer notes that "publication in book form might have come sooner." Although the poet "has not settled down to a style," he does handle satirical poetry with real exuberance and wit.
D11 MacDonald, T. More. Rev. of News of the Phoenix and Other Poems. Culture, 5 (June 1944), 231. Despite severe criticism of the unevenness and of the verse forms which are often too intricate for their subjects, the review concludes with praise for a collection which "will remain as one of the most important books published by a Canadian poet up to the present time."
D12 W., F. E. Rev. of News of the Phoenix and Other Poems. Canadian Poetry Magazine, 7, No. 4 (June 1944), 42-44. After describing Smith as a leader of the "modern or 'advanced' school of poets," the reviewer notes that many of these poems, especially "The Cry," express the intense bitterness characteristic of this school. Smith's poems on nature reveal a close attention to detail and pieces such as "Ode: The Eumenides" are "atmospheric, impressionistic, universal in application."
D13 Boggs, Tom. Rev. of News of the Phoenix and Other Poems. Contemporary Poetry, 4, No. 2 (Summer 1944), 18. The book shows "an art in which all virtues, including counterpoint of beauty and irony combine." Boggs notes the publisher's editorial decision not to include two "robust ms. poems" in the collection.
D14 Mizener, Arthur. "Four Poets." Partisan Review, II (Summer 1944), 347. Mizener separates Smith from the tradition established in the twenties and thirties, since his is "a case of he would if he could." Smith is competent, but has not found his own style or subject. "Mr. Smith is still most at home with the Georgians."
D15 Brinnin, John Malcolm. "Views of the Favorite Mythologies." Poetry [Chicago], 65 (Dec. 1944), 157-60. Brinnin criticizes what he calls Smith's "inability to vitalize his images" resulting in mythological cliche. The core of the poet's vision is never established: "We have only a number of incongruously pretty poems which bear no relation whatever to the closely reasoned, imaginatively fused elements of 'Noctambule'...." Also, "the poet must earn his mantle, otherwise it will fit only in places."
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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Record: 135- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; On Poetry and Poets: Selected Essays of A.J.M. Smith
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- Part 2 Works On A.J.M. Smith; Selected book reviews
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- Burke, Anne (compiler)
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- Bibliography
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: ON poetry and poets: Selected essays of A.J.M. Smith (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
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Source: Part 2: Works On A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 310-366
Part 2 Works On A.J.M. Smith; Selected book reviews; On Poetry and Poets: Selected Essays of A.J.M. Smith
Burke, Anne (compiler)
D75 Body, Marjorie. Rev. of On Poetry and Poets: Selected Essays of A. J. M. Smith. Canadian Book Review Annual 1977, (1978), p. 185. On Poetry and Poets provides a lucid overview of numerous anthologies of Canadian poetry. Smith's judgement and knowledge are based on lifetime study and practice. He provides a balanced view of Canadian poetry. This is an interesting, informative, and, at times, entertaining book.
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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Record: 136- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; Poems: New and Collected
- Other Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: POEMS: New and collected (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
ISBN: 920802524 (hardcover)
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Part 2 Works On A.J.M. Smith; Selected book reviews; Poems: New and Collected
Burke, Anne (compiler)
D50 B., J. S. "Literature and Life: A. J. M. Smith Revisited." The Ottawa Journal, 18 Nov. 1967, p. 44. This book displays the variety of his talent, the use of metaphysical habits of mind, but is rarely as profound. The reviewer feels that none of the new material will change Smith's minor-league status, but the range of his writing should not be shunned.
D51 Kearns, Lionel. "If There's Anything I Hate It's Poetry." Canadian Literature, No. 36 (Spring 1968), pp. 67-68. Rpt. (excerpt -- "Review of A. J. M. Smith's Poems, New and Collected) in The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, pp. 125-27. Smith's work "is dominated by an historically oriented academic discipline." Kearns rejects this form of versification, though he concedes others may find it of some consequence. "'Only the simplest words have meaning' choruses Smith in a poem on the death of E. J. Pratt, yet elsewhere in the collection he shows himself to be unconcerned with that kind of meaning." He compares Smith with Dennis Lee -- the "grand old man and the aspiring newcomer."
D52 Purdy, Alfred W. "Aiming Low." The Tamarack Review, No. 47 (Spring 1968), p. 84. "For some reason, the man, a convivial and occasionally bubbling person, doesn't jibe with his poems." Purdy regards the accusation of "minor poet" irrelevant in a judgement of Smith's poems. There are many poems which retain Purdy's interest.
D53 MacCallum, Hugh. "Letters in Canada: 1967. Poetry." University of Toronto Quarterly, 37 (July 1968), 371. The additions are scattered in the book. Although Smith is quick to absorb influences, his manner is his own. His sensitivity to language makes him able to write in a direct, clear, and precise style.
D54 Maxton, Hugh. Rev. of Poems: New and Collected. Dublin Magazine, 7, Nos. 2-4 (Autumn-Winter 1968), 111-12. Smith's poetry displays sources of influence, if not actual dependence, including "fumbled mumbles of Dylan Thomas and lapsed wisps of William Yeats."
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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Record: 137- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; The Blasted Pine: An Anthology of Satire, Invective and Disrespectful Verse, Chiefly by Canadian Writers
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- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: BLASTED pine: An anthology of satire, invective and disrespectful verse, chiefly by Canadian writers (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
ISBN: 920802524 (hardcover)
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Part 2 Works On A.J.M. Smith; Selected book reviews; The Blasted Pine: An Anthology of Satire, Invective and Disrespectful Verse, Chiefly by Canadian Writers
Burke, Anne (compiler)
D108 Hondench, Ted. "Unsung but Unquiet Scrutineers." Toronto Daily Star, 24 Oct. 1957, p. 28. This anthology contains some good verse, despite the second-rate and polemical qualities of many other pieces.
D109 Davidson, True. Rev. of The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadian Writers. C.C.F News, Nov. 1957, p. 8. There is an absence of the fair sex. Canadians early learned to laugh at themselves, which is a sign of maturity. This is a treat for today and a whole pantry-shelf of quotable material for tomorrow.
D110 Fefferman, Stan. "Book Reviews: Poets Laugh Last -- 'A Purge for Hypocrites.' " McGill Daily, 11 Nov. 1957, p. 5. "Never have any preliminary comments so stimulated our imagination .... " The tone of voice in their introduction is exciting and intense, thus intensely exciting; their purpose is important, their point forcefully made. The satirical purpose of Smith and Scott find such an enthusiastic response from this McGill undergraduate newspaper that it was hailed as "probably the most important anthology of poems m Canada." The review is accompanied with a caricature of Smith and Scott in academic gowns and with smoking pistols; shaking hands. The caption reads: "a well-aimed spitball."
D111 House, Vernal. "Satire and Invective in Canadian Verse." The Globe and Mail, 23 Nov. 1957, p. 24. On the whole, the pine is well-blasted. Scott and Smith are two noteworthy practitioners of the satirical art themselves.
D112 Richler, Mordecai "In Review." The Montrealer, Dec. 1957, pp. 69-70. The collection is uneven and some of the satirical targets have become cliched.
D113 Davies, Robertson. "Books: Fourteen for the Twenty-Fifth." Saturday Night, 7 Dec. 1957, p. 25. An elegant and agreeable book, deserving the widest possible circulation -- but "keep it away from your Aunt Minnie."
D114 Dudek, Louis. Rev. of The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadian Writers. The Canadian Forum, Jan. 1958, p. 239. Dudek finds the book to be a collection of Canadian poetry that an intelligent human being -- Canadian or not -- can read with pleasure, with respect, and with an increment of intellectual stimulus. Dudek provides an analysis of sat, re as genre, and its Canadian forms. Dudek agrees with Smith of the Canadian poet, that when he relates Canadian life to a wider cosmopolitan frame of reference, his comment is likely to carry more weight.
D115 Ross, Malcolm. "Critically Speaking." CBC Radio, 26 Jan, 1958. Smith and F. R. Scott are a team "which delivered us -- in the rock of time -- from the Maple Leaf School of Canadian poetry." Ross emphasizes their role in the twenties, alerting us to the new international idiom of T. S. Eliot and Ezra Pound. Furthermore, since then they have been "hurling blockbusters at everything commonplace and conventional in Canadian writing -- and in conventional life." Ross also introduces a Folkways record "Six Montreal Poets."
D116 King, Carlyle. Rev. of The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadian Writers. Canadian Historical Review, 39 (Dec. 1958), 337-39. King questions the editors' claim that this book offers a broad historical representation, noting the scarcity of early examples of satire. Yet he finds the more recent poems particularly effective and concludes by wishing success to this "delightfully and potently sour" anthology.
D117 Frye, Northrop. "Letters in Canada: 1957. Poetry." University of Toronto Quarterly, 27 (July 1958), 447-48. Rpt. in his The Bush Garden: Essays on the Canadian Imagination. Toronto: House of Anansi, 1971, pp. 83-84. Frye credits Smith and Scott with expert scholarship and critical judgement. He calls the book delightful, even while questioning the exclusion of satiric folk songs, Catholic religious satire, political wit in the newspapers, and right-wing satire.
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D76 "Verse." The New Yorker, 25 Sept. 1943, p. 87. The reviewer finds the book to be a comprehensive critical and historical anthology which traces Canadian poetry from its beginning. The "gifted contemporary group of Canadian poets is well represented."
D77 Rev. of The Book of Canadian Poetry: A Critical and Historical Anthology. The New Republic, 11 Oct. 1943, p. 498. A note about Smith who "knows Canadian poetry both as a scholar and as a leader of the recent Toronto-Montreal poetic revival." The book appears to be the most intelligent and representative collection of poetry by Canadians.
D78 [Deacon, William Arthur.] "A. J. M. Smith's Canadian Anthology Is Both Antiquarian and Modernistic." The Globe and Mail, 30 Oct. 1943, p. 20. Deacon accepts the anthology as a comprehensive and judicious piece of work, but views it as an attempt to popularize and permit the comrades of Smith to infiltrate into university circles faster than they have been doing. According to Smith, in "The Confessions of a Compulsive Anthologist" (B450) Deacon led the attack on the whole Modernist movement.
D79 R[oss]., P. D. "Canadian Poetry, Old and New -- The New Free Verse and Versifiers." The Ottawa Journal, 30 Oct. 1943, p. 17. Ross praises the comprehensiveness, the good introductions and biographical notes, but, with a prejudice against free verse, laments that some poets were omitted who write better poems than those of free verse "verbiage."
D80 [Sandwell, B. K.] "Child of the Nations." Saturday Night, 30 Oct. 1943, p. 3. Smith's excellent selections prove the desirous quality of impartiality in an editor. The selections also emphasize the intellectual strength of the Modern poets. The reviewer agrees with the high rating of D. C. Scott, but suggests a few differences for the rest of the book.
D81 Strachan, Pearl. Rev. of The Book of Canadian Poetry: A Critical and Historical Anthology. Christian Science Monitor, 30 Oct. 1943, p. 12. The volume contains a good deal of mediocre writing hiding some material of genuine quality. Smith takes his place at least among the noted minor poets of the past.
D82 Kennedy, Leo. "Retrospective of the Poets of the North." The Chicago Sun Book Week, 7 Nov. 1943, p. 7. "This is more than an anthology of poems written by Canadians; it is a milestone .... This fine work of the eminent Canadian-born poet and critic A. J. M. Smith is so broad m scope, yet so minute in detail, that it constitutes a faithful picture of the cultural attitudes of English-speaking Canadians from Confederation to the present time. The work of major and minor poets alike has been sifted with intelligence and good taste."
D83 Shaw, Neufville. "The Maple Leaf Is Dying." Preview, No. 17 (Dec. 1943), pp. 1-3. Rpt. in The Making of Modern Poetry m Canada: Essential Articles on Contemporary Canadian Poetry. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 101-04. It "is the most complete survey of English Canadian verse we possess." Shaw declares the death of the Maple Leaf School in favour of the Moderns like F. R. Scott, Patrick Anderson, P. K. Page, and James Wreford. Smith's and Finch's poems are "glittering inconsequentials." His disparagement of Pratt is in contrast to Smith's unqualified enthusiasm (though this was tempered in the 1957 edition).
D84 M., C. R. Rev. of The Book of Canadian Poetry: A Critical and Historical Anthology. The Evening Telegram [Toronto], 4 Dec. 1943, p. 21. Smith has made a careful selection of Canadian poetry.
D85 C[larke]., G[eorge]. H[erbert]. "Canadian Poets and Their Critics." Rev. of The News of the Phoenix and Other Poems and The Book of Canadian Poetry: A Critical and Historical Anthology. Queen's Quarterly, 50 (Winter 1943-44), 434-35. Looking briefly at the anthologies of Canadian verse that have appeared since 1864, Clarke notes the problems anthologists encounter in attempting to fairly represent Canadian poetry. He then criticizes Smith for exhibiting a strong bias for the "metaphysical school" in his selection of poems. He also argues that m using a historical framework, Smith occasionally allows the structure of the book to affect his standards. While Clarke praises the Introduction for its terseness and scope, he questions Smith's estimates of some of the poets he discusses.
D86 C[rawley]., A[lan]. "Editor's Note." Contemporary Verse, No. 9 (Jan. 1944), pp. 15-16. "A.J.M. Smith has done more than exhibit his own taste in a particular branch of literature. He has presented this collection of poems as an act of faith based on an act of definition which time will either confirm or confound ...." The "nebula of a Nature Tradition appears to be taking shape," but "slows down and becomes diffused in the writings of the poets whom Mr. Smith has grouped m the section titled 'Varieties of Romantic Sensibility' ... until it finally disappears in the work of the cosmopolitan group."
D87 Gustafson, Ralph. "Anthology and Revaluation." University of Toronto Quarterly, 13 (Jan. 1944), 229-35. "No Canadian is better equipped by temperament and training to present the poetry of Canada with authority and persuasion. The publication of his book is a literary event of the first importance. It is a collection to be exported without apology; its domestic appearance makes previous anthologies of like scope and purpose, redundant." Smith successfully re-evaluates previous critical mistreatments, though he does over-estimate Crawford and Cameron.
D88 Rosenberger, Coleman. "On Canadian Poetry." Poetry [Chicago], 63 (Feb. 1944), 281-87. This is a good introduction to Canadian poetry and the native-cosmopolitan division is clear and accurate. The anthology reveals the amount of good poetry that is being written in Canada, including Smith's own works. Smith is "a capable poet in his own right, and one of a broad and sympathetic understanding of the poetry of his compatriates."
D89 "In Brief." The Nation, 26 Feb. 1944, p. 261 Smith's "patient scholarship" in sorting poetry from the "trappings of fashion" is praised. The reviewer finds little of interest, except near the end, and wonders if this shows "poetic naissance" or simply his attraction to "contemporary fashion."
D90 S[utherland]., J[ohn]. Rev. of The Book of Canadian Poetry: A Critical and Historical Anthology. First Statement, 2, No. 6 (April 1944), 19-20. Although the divisions between cosmopolitan and native traditions are somewhat misleading, it deserves praise as the most comprehensive collection of Canadian poetry that has so far appeared.
D91 [Woodhouse, A. S. P.] "Letters in Canada: 1943. Remaining Material." University of Toronto Quarterly, 13 (April 1944), 324-26. Woodhouse begins by stating that Smith's and Brown's books are the "two most important contributions to the history and criticism of Canadian literature yet made." Smith's work and study in the United States and Europe have given him a broader outlook and higher standards, things badly needed in this field. The review concludes by agreeing that Smith has fulfilled his intention of producing a critical rather than historical work.
D92 Endicott, N.J. Rev. of The Book of Canadian Poetry: A Critical and Historical Anthology. Canadian Historical Review, 25 (June 1944), 194-96. Endicott summarizes the contents and notes that the book is "by all odds the best anthology of English-Canadian poetry," despite the fact that there is "still too much maple sugar and easy rhyme" which is not the fault of the compiler.
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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- Part 2 Works On A.J.M. Smith; Selected book reviews; The Book of Canadian Poetry: A Critical and Historical Anthology, 2nd edition
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: BOOK of Canadian poetry: A critical and historical anthology, 2nd edition (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
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Part 2 Works On A.J.M. Smith; Selected book reviews; The Book of Canadian Poetry: A Critical and Historical Anthology, 2nd edition
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D93 C[rawley]., A[lan]. "An Important Book." Contemporary Verse, No. 25 (Summer 1948), pp. 21-23. In comparing the two editions of this anthology, Crawley commends Smith upon the attention he paid to new developments in poetry as demonstrated in his revisions. Smith has accomplished the "difficult and unusual feat" of carrying over the vitality, enthusiasm, and freshness that distinguished the first edition. While Crawley is content with most of the selections in the early sections of the book, he finds the choice of Modern poetry excellent and concludes that this edition is the "most important contribution to literary criticism and to the history of Canadian literature that has been made in the last decade."
D94 Deacon, William Arthur. "A. J. M. Smith Revises His Canadian Anthology." The Globe and Mail, 25 Sept. 1948, p. 19. According to Deacon, this is "the ranking work of its class." Deacon notes, however, that while Smith introduces new work, much of it remains inaccessible to the public.
D95 Sedgewick, G.G. Rev. of The Book of Canadian Poetry: A Critical and Historical Anthology. 2nd ed. CBC Radio, 27 Oct. 1948, 3 pp. Sedgewick maintains that this is the best all-purpose view of Canadian poetry in existence -- a college text, reference book for the new Canadian poetry enthusiasts and general readers. Some complaints are offered as suggestions for the third edition: the section on the Indian and French literature is misrepresentative, the nineteenth-century selections are unbalanced (over-emphasizing Cameron at the expense of Carman), the Moderns need more "weeding out," yet the book as a whole is an admirable work.
D96 Brown, E. K. Rev. of The Book of Canadian Poetry: A Critical and Historical Anthology. 2nd ed. Saturday Review of Literature, 27 Nov. 1948, p. 26. "Despite the limits within which Mr. Smith can work surely, his anthology is the most useful of the larger collections of Canadian poetry and is improved in the new edition. The editorial apparatus is valuable, although there are a few surprising inaccuracies."
D97 "Canadian-English Literature: Poetry." British Book News, Jan. 1949, p. 532. A brief entry which comments on the addition of thirty-five pages with many revisions. "The result is a well-balanced selection ranging from the earliest days of the Haida Indians, through the songs of French Canada and the 'maple leaf tradition," to the more cosmopolitan outlook of today."
D98 M[artin]., B[urns]. Rev. of The Book of Canadian Poetry: A Critical and Historical Anthology, 2nd ed. The Dalhousie Review, 28 (Jan. 1949), 422-23. By "dropping ... a number of poets who were represented by one poem only.., we have lost one or two good poems ... but the collection has gained tightness and direction." The inclusion of late 1930s and 1940s poets is the "greatest gain." "The Introduction has been considerably revised m conformity with the new inclusions; notable are an interesting analysis of the spirit of colonialism and an all too brief discussion of the strictly contemporary writers." There are "a few omissions" from the bibliographies. "One may differ from the editor about ... his continued high rating of F. G. Scott, ..." and about the selection for F. R. Scott, A. A. Brown, and Leo Kennedy. "... Smith has succeeded in improving an already very fine anthology ...."
D99 Sergeant, Howard. Rev. of The Book of Canadian Poetry: A Critical and Historical Anthology, 2nd ed. Poetry Quarterly, 11, No. 1 (Spring 1949), 63-64. Smith's important book contributes to our understanding of Canadian poetry, but his theory of native and cosmopolitan verse is an "over-simplification." There is no Canadian poetic tradition and Canadian poetry, native or cosmopolitan, is derivative. The English and American influences are, however, much less obvious in such contemporary poets as P.K. Page, Ronald Hambleton, Louis Dudek, and Raymond Souster.
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
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D100 MacDonald, Goodridge. "Two Views of Canada's Poets and Poetry." The Montreal Star, 25 Jan. 1958, p. 23. Smith's numerous revisions create a useful reference work and excellent reading. The reviewer appreciates the inclusion of Jay Macpherson and Irving Layton and hopes that the next edition will also include Ron Everson, Daryl Hine, and Leonard Cohen.
D101 Cogswell, Fred. Rev. of The Book of Canadian Poetry: A Critical and Historical Anthology, 3rd ed. The Fiddlehead, No. 36 (Spring 1958), pp. 43-44. Cogswell notes that, in this third edition, biographical errors remain uncorrected and the biographies have not been updated since 1943. Smith perpetuates a "decadent established tradition" by focusing on "baroque" poems; he substitutes Smith's "Ode: The Eumenides" for his "Shadows There Are" and F. R. Scott's "Beside" for his "Hardest It Is." Cogswell notes that such poets as John Glassco, George Johnston, Phyllis Webb, Fred Swayze, George Walton, Elizabeth Brewster, R. E. Rashley, and Fred Cogswell are not included.
D102 Beattie, Munro. "Poetry Chronicle." Queen's Quarterly, 65 (Summer 1958), 313-20. After observing that the past year has produced very little Canadian poetry of major importance, Beattie concludes this survey of recent poetry books by saluting the third edition of Smith's Book of Canadian Poetry. He feels that it remains the best available selection of Canadian poetry, and he stresses that Smith "still demonstrates his intelligence, his taste and his ability to find new movements and groupings of poetic interest."
D103 Parks, M.G. "Canadian Poetry." Rev. of The Penguin Book of Canadian Verse, ed. Ralph Gustafson; The Book of Canadian Poetry: A Critical and Historical Anthology, 3rd ed., ed. A. J. M. Smith; and Canadian Anthology, ed. C.F. Klinck and R. E. Watters. Meanjin, 28 (Sept. 1959), 350-52. Parks states that The Book of Canadian Poetry is still the best general anthology of Canadian poetry, supporting his position by citing the "excellent historical and critical survey" of its Introduction, the valuable bibliography, and the extensive selection of poems. He defends Smith against the attacks of certain avant-garde poets, pointing out Smith's pioneering role in the Modern movement of Canadian poetry.
D104 Stuck, Walter. "Neue Kanadische Anthologien (Canadian Poetry and Prose)." Die Neueren Sprachen, 69 (NS 19) (Jahrgang 1970), 45-50. Stuck reviews the contents and the dual thrust of the Introduction. He lists the authors in each section, quotes from Smith's critical and historical overview, and notes that the book is a fair introduction for German readers to Canadian poetry.
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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- Part 2 Works On A.J.M. Smith; Selected book reviews; The Canadian Experience: A Brief Survey of English-Canadian Prose
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- Part 2 Works On A.J.M. Smith; Selected book reviews
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Part 2 Works On A.J.M. Smith; Selected book reviews; The Canadian Experience: A Brief Survey of English-Canadian Prose
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D171 Charlesworth, Roberta. Rev. of The Canadian Experience: A Brief Survey of English-Canadian Prose and The Book of Canadian Prose: Early Beginnings to Confederation. The Quarterly of Canadian Studies for the Secondary School, 4, No. 1 (1975), 60-63. Charlesworth argues that there is an over-emphasis m the contemporary section on narrative which is realistic or condescending in tone. The reviewer lauds Smith's choice of a selection from Brooke's The History of Emily Montague as a source of spirited class discussion.
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
Item Number: ABCMA04ASP2000004004004018
Record: 142- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; The Classic Shade: Selected Poems
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- Part 2 Works On A.J.M. Smith; Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 4
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- Bibliography
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: CLASSIC shade: Selected poems (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP2
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Source: Part 2: Works On A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 310-366
Part 2 Works On A.J.M. Smith; Selected book reviews; The Classic Shade: Selected Poems
Burke, Anne (compiler)
D55 Novik, Mary. "Rolling Out the Rhythm." The Vancouver Sun, 31 March 1978, p. 391. Smith's work exemplifies the traditional art of poetry. Novik likes his light verse best.
D56 Marshall, Tom. "Keeping Up with the Smiths and the Joneses." Books in Canada, April 1978, pp. 16-17. "... [T]he rising generation of readers and young poets could do a lot worse than take what pleasure and instruction they can from the traditional skills of one of the most notable of the elders among us. For work other than what is currently fashionable may also be of use to them, and in surprising ways."
D57 Buitenhuis, Peter. "Wit and Taste in Smith's Selected." The Montreal Star, 1 April 1978, p. D3. The selection represents Smith's "final harvest, the poems by which he will want contemporaries to judge and posterity to know him." Despite his limitations, the poems reveal his feeling, learning, wit, and taste.
D58 Such, Peter. "Cabbages, Not Kings Inspire the New Poetry." Toronto Star, 1 April 1978, p. D7. Smith's classical poetry is contrasted with David McFadden's Post-Modernist poetry. Smith's poems are "neat" and "trimmed," but any emotion is suppressed by his "contrived Imagery."
D59 David, Jack. Rev. of The Classic Shade: Selected Poems. Quill & Quire, May 1978, p. 44. The Classic Shade is a representative selection of Smith's works and shows "a man of contradictions" with the ability to move beyond purely "academic" poetry and still make fresh use of such outmoded forms as the sonnet.
D60 Daniells, Roy. "Fringe Benefit." Canadian Literature, No. 79 (Winter 1978), pp. 74-76. Smith's attention to subtle and non-constricting rhyme, his "classical and Canadian materials [that] combine with a deftness that keeps us from feeling them as an amalgam" make his work "a bridge delicately suspended between what has been and what is yet to come" from those who "look for the pattern of the poet's thinking, not the 'superficial' patterning of his verse." In Smith's work, "Rhythm and rhyme are respected; images, though requiring some consideration, are in the mare clear and effective; subjects -- including cross-references to other poets -- enrich our sense of a common human experience." Smith's "treatment of the universal theme of death ... seems to me unnecessarily negative," but Daniells acknowledges a "prejudice" and adds "Perhaps Smith's intense focus ... is as much as we have reason to ask."
D61 Gatenby, Greg. Rev. of The Classic Shade: Selected Poems. The Tamarack Review, Nos. 77-78 (Summer 1979), pp. 84-86. Gatenby maintains that Smith is a highly respected poet, but kudos for his poetry have never been as overwhelming as for other versifiers of his generation. Younger writers should discover his dexterity and love of nuance within traditional verse forms, even though the reading of his poetry is an acquired taste. Gatenby points to examples of "syllabic orgy," delight m archaisms, and use of the sonnet. He thinks of Smith as the shade, the Greek ghost so out of step with contemporary poetics that he is all but dead to the world of the modern consumer. On the other hand, a poem such as "Cavalcade" is evocative and has an up-to-date cadence. Yet Smith refuses to reveal much or anything of himself.
D62 Hornyansky, Michael. Rev. of The Classic Shade: Selected Poems. University of Toronto Quarterly, 48 (Summer 1979), 344-45. "I have the sense of opening a cabinet of brandies: not better than wine, but different, and no less perilous." This reviewer acknowledges that he cannot hope to match the graceful Introduction by M.L. Rosenthal, but draws on private memory. "I grope for words: politeness, perhaps, in every sense -- facetus in the classic manner, not so much learned as civilized, elegant but casual, moving with self-deprecating ease through strict measures, even his exasperations gently ironic; and always behind the dance, breathing through it, the presence of Arthur Smith the man, generous, tactful, kind." Hornyansky suggests an ironic meaning in the title. The poet is not the ghost or relic he pretends, but his living presence makes shades of the pretenders. The perspective is classical.
D63 Barbour, Douglas. Rev. of The Classic Shade: Selected Poems. Dalhousie Review, 58 (Autumn 1979), 556. There are no more than three poems not in his 1967 Collected Poems; if you don't have a Smith collection and you are a student of twentieth-century Canadian poetry, you had better get it. Smith's muse is classic, hieratic, difficult, and austere. His poetry is associated with the followers of Eliot and Yeats, not pleasing to Barbour. This is a fine representative selection of Smith's poems, a necessary book for those interested in early Canadian Modernism.
D64 Darling, Michael. "Dean of Canadian Poets." Waves, 7, No. 2 (Winter 1979), 72-74. The tension between life and death forces that Smith develops does not create "lifeless" poetry, but a sense of vitality. Smith's range of styles balances between classical and Romantic, and includes light and epigrammatic verse. His technical control does not mask or obscure emotion.
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
Item Number: ABCMA04ASP2000004004004005
Record: 143- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; The Collected Poems of Anne Wilkinson, and a Prose Memoir
- Other Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: COLLECTED poems of Anne Wilkinson, and a prose memoir (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP2
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Source: Part 2: Works On A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 310-366
Part 2 Works On A.J.M. Smith; Selected book reviews; The Collected Poems of Anne Wilkinson, and a Prose Memoir
Burke, Anne (compiler)
D165 Pacey, Desmond. Rev. of The Collected Poems of Anne Wilkinson, and a Prose Memoir. The Fiddlehead, No. 77 (Autumn 1968), pp. 76-79. Pacey contrasts a simpler realism in literature with the 'Metaphysical' style of verse. "Smith at his judicious and perceptive best -- which is very good indeed" reforms the Introduction. Pacey praises Smith's liberal selection of W. W. E. Ross's work in all his anthologies.
D166 Barbour, Douglas. Rev. of The Collected Poems of Anne Wilkinson, and a Prose Memoir. Dalhousie Review, 48 (Winter 1968-69), 570-71. Barbour praises the prose memoir, Smith's able job of editing, and his fine introductory essay. Wilkinson's metaphysical wit is a tag which may make her anathema to many of today's poets.
D167 Daniells, Roy. "Purged with Pity and Fear." Canadian Literature, No. 15 (Winter 1969), pp. 98-101. "Our thanks to Macmillans and to Arthur Smith."
D168 Nelson, Elizabeth R. Rev. of The Collected Poems of Anne Wilkinson, and a Prose Memoir. Library Journal, 15 Jan. 1969, p. 199. The reader is doubly indebted to Smith for the excellent Introduction and notes.
D169 Rev. of Collected Poems of Anne Wilkinson, and a Prose Memoir. Choice, 6 (April 1969), 220. The reviewer lauds Wilkinson at length as a poet who combined intellectual breadth with emotional depth and imaginative vitality. The volume is edited with a most discriminating and informative Introduction.
D170 Hoffman, Daniel. "Constraints and Self-Determinations." Poetry [Chicago], 114 (Aug. 1969), 341-42. The reviewer asks, "Why have I never heard of her before?" He quotes from Smith's Introduction, but concludes: "I do not find anything markedly Canadian in her poetry. It is the tradition of a language rather than of a nation which she inherits, and honorably augments."
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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Record: 144- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; The Oxford Book of Canadian Verse: In English and French
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- Part 2 Works On A.J.M. Smith; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 4
- Author(s):
- Burke, Anne (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: OXFORD book of Canadian verse: In english and french (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP2
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Source: Part 2: Works On A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 310-366
Part 2 Works On A.J.M. Smith; Selected book reviews; The Oxford Book of Canadian Verse: In English and French
Burke, Anne (compiler)
D118 Bilsland, John. "Moving beyond Borders." Canadian Literature, No. 6 (Autumn 1960), pp. 56-59. A lengthy review article devoted to an evaluation of all aspects of the anthology. The initial tone of the reviewer is a sense of satisfaction "that Canadian poetry has broken beyond its national confines to take its place -- whatever that may be -- in the larger sphere of the English speaking world." The book is convenient and inexpensive, but the editor's taste is questioned. Bilsland objects to early Canadian poetry being included: "Why, then, continue to unearth poetic corpses because they happen to be Canadian? Even Canadian corpses can take up valuable living space." He further objects to the "superficial" Introduction and inappropriate term, "eclectic detachment."
D119 MacLure, Millar. "Smith's House of Fame." The Tamarack Review, No. 17 (Autumn 1960), pp. 61-65. MacLure objects to the "obtrusive formulas of praise." He suggests Smith should have included more Birney, more Layton, Anderson's "Cold Colloquy," less Reaney, no Heather Spears or Myra von Riedemann, but some Phyllis Gotlieb, and more Daryl Hine. Although George Johnston was not represented, there were unexpected delights, namely Francois Hertel and Kildare Dobbs. MacLure dismisses the Confederation Poets as the grandfathers who have still to be explained to the children. Lampman is "a good old cheese" and Carman's verse is to poetic speech what Baird's lemon extract used to be to Demera rum. "Mr. Smith comes out of the ordeal very well, though not as easily as in his Book of Canadian Poetry." The critic-anthologist in a foreshortened Canadian tradition of letters must set off fidelity to the time against his feelings.
D120 Deacon, W.A. "Canadian Poetic Compromise." The Globe and Mad, 24 Sept. 1960, p. 17. Deacon applauds the inclusion of French poems and the emphasis placed on E.J. Pratt's achievements. But too many poets have been included, especially the minor voices in the era pre-dating Charles G.D. Roberts, who, Deacon believes, began the Canadian poetic tradition.
D121 Dempsey, Lotta. "Private Line: Our Poets Tops." Toronto Dally Star, 24 Sept. 1960, p. 52. Smith's Introduction is stimulating and enlightening. The anthology will take a distinguished place in university, high school, and public and private universities around the world. It is probably the most representative volume of the proud literary tradition of our two cultures yet published. Smith has the accuracy of a chartered accountant.
D122 Dudek, Lores. "Parallels in Canada's Two-Language Verse." The Montreal Star, 24 Sept. 1960, p. 32. Smith's non-segregated inclusion of French- and English-Canadian poets makes this book "a historical turning point in our literary history." Dudek raises a few minor criticisms about the Introduction and notes some interesting parallels between the poetry of the two cultures, notably between A. J. M. Smith and Alain Grandbois.
D123 "Arts & Letters: A Measure of Detachment." Rev. of The Oxford Book of Canadian Verse: In English and French. Time [Canada], 26 Sept. 1960, pp. 15-16. Reiterates approvingly Smith's major arguments in his Introduction to a "handily packaged" anthology. Provides a sampler of "The Canadian as Poet."
D124 Fulford, Robert. "Acclaims Calibre of Our Poets." Toronto Daily Star, 8 Oct. 1960, p. 25. Smith's Introduction, his prose style, and his inclusion of French-Canadian writers are all excellent. Fulford has a few quibbles with some of the poets who were included and some who were excluded. The anthology places less emphasis on the nineteenth-century writers than does The Book of Canadian Poetry.
D125 Davie, Donald A. "An Opportunity Missed." Saturday Review, 15 Oct. 1960, p. 27. By comparison with the Oxford Book of American Verse, the North American muse is numerically in favour of the higher latitudes. Smith includes too many poets and holds "parochial" standards which may be equally applied to Canadian plumbers. Too many Canadian voices have British or American accents. Another representation of the Canadian imagination is needed, excluding "antiquarian lumber."
D126 McCann, William. "The Book Shelf." The State Journal [Lansing, Mich.], 30 Oct. 1960, p. 44. Smith has written a learned and perceptive Introduction. Not only because it contains the best Canadian verse, but also because it contains so much good verse without regard to geography, you must read this brilliantly edited handsomely printed anthology.
D127 Woodcock, George. "Anthology as Epithalamion." The Canadian Forum, Nov. 1960, pp. 179-81. Rpt. in his Odysseus Ever Returning: Essays on Canadian Writers and Writings. New Canadian Library, No. 71. Toronto: McClelland and Stewart, 1970, pp. 115-18. Woodcock views the anthology as a celebration of the marriage of French- and English-Canadian literature. It is the most exciting anthology of Canadian poetry yet published with an ample and wellpicked selection of verse in French. This reviewer hopes for mutual influence in the future, primarily to enliven the drabber English-Canadian verse. The selections as a whole are perceptive and balanced. This is an important revision of Smith's past assessments of what Canadian poets have achieved. Woodcock goes on to outline the methods and means of anthologies, in general. The past has been a mangy tail hanging from a vigorous present (that is, nineteenth-century literature, in his opinion, belongs to the antiquary). Now Smith has marked an epoch by presenting the whole pattern of changes, linked to language and to region.
D128 Edel, Leon. "All Is Not Solitude." The New York Times Book Review, 27 Nov. 1960, pp. 5, 61. A laudatory and perceptive essay by a member of the McGill Group. Despite a harsh and lonely environment, Canadian poetry has been produced out of all proportion to population. This is a remarkable anthology, surpassing both The Book of Canadian Poetry and Campbell's Oxford Book of Canadian Verse. The book reflects Smith's sure taste, scholarship, and rigorous selectivity. His bias is "always poetic and esthetic -- never nationalistic." The anthology clearly demonstrates eclectic detachment as a virtue. For those unfamiliar with Canadian poetry, it opens a "wholly new poetic territory on our continent."
D129 Mullins, S. G. Rev. of The Oxford Book of Canadian Verse: In English and French. Culture, 21, No. 4 (Dec. 1960), 442-43. Smith's Introduction is "among the best and most succinct (28 pages) histories of Canadian poetry that this reviewer has seen." Mullins has a number of quibbles with those poets who were included and those excluded and suggests the book is a revised and updated version of The Book of Canadian Poetry. Mullins sees the selection of French-Canadian verse as intrinsically that of Guy Sylvestre, rather than of Smith himself.
D130 Pacey, Desmond. Rev. of The Oxford Book of Canadian Verse: In English and French. Queen's Quarterly, 67 (Winter 1960-61), 705. Pacey's premise is that anthologies, in general, are merely the deposits of their editors' prejudices. Smith's biases of cosmopolitan, metaphysical, and cerebral verse are posited. Pacey expresses regret at the loss of a good Canadian anthology edited from a different point of view. Yet, the book is a more worthy representation than its predecessor in this series, with its skilful Introduction.
D131 Cogswell, Fred. "Oxford Anthology." The Fiddlehead, No. 47 (Winter 1961), pp. 56-57, 59-60. Cogswell argues that the book represents a modest return to original research and catholicity on Smith's part. The Introduction IS succinct, reliable, and a readable account of the development of Canadian poetry in French and English. However, the conclusion is "astonishing," and eclectic detachment is "too cold-bloodedly an artificial recipe to produce more than good minor poetry." Cogswell condemns this critical and literary parasitism which "smacks of" cultural adolescence. The anthology omits "Piper of Arll," popular ballads, and light verse, and lacks sufficient satire and love poetry. Of the latter, since Smith was the man who once wrote "For Healing," Cogswell remarks this is perhaps "understandable." It is still an improvement over the Carman-Pierce anthology Our Canadian Literature, 1935.
D132 Goetsch, Paul. "Die Anglokanadische Lyrik Bemerkungen zu A. J. M. Smith's The Oxford Book of Canadian Verse." Die Neueren Sprachen, NS 9 (Jahrgang 1961), 414-23. The review, for the most part, serves as an introduction of Anglo-Canadian poetry to German readers. Goetsch points out the excellence of the poems selected, but notes that many of them have appeared in other anthologies. He criticizes the overemphasis on Modern poets (since 1940).
D133 Holloway, John. Rev. of The Oxford Book of Canadian Verse: In English and French. London Magazine, 8, No. 1 (Jan. 1961), 77-78. Holloway finds the book to be an excellent text for the study of Modern verse "or of how poetic tradition grows up in a new society." Holloway notes the Canadian poetic movement from provincialism into sophistication.
D134 Souster, Raymond. Rev. of The Oxford Book of Canadian Verse: In English and French. Food for Thought, 21, No. 4 (Jan. 1961), 174-75. "Here is indeed a Canadian anthology with a difference." Souster appreciates the pairing of English- and French-Canadian poets, but the rapport is misleading since "The Iron Curtain is still very much down." Our lack of a useable tradition has not made possible the emergence of "Sandburgs, Jeffers, Frosts or Robert Lowells here."
D135 "Nature and Fantasy." The Times Literary Supplement, 13 Jan. 1961, p. 24. The reviewer maintains that such entries as the drivel of Charles Mair and the bloated sonorites of Octave Cremazie make a book of antiquarian interest with no hint of poetic value. In his effort to be representative, Smith has Included almost everyone who has ever published a poem in Canada, resulting m some unmitigated rubbish. Yet the reviewer acknowledges that this is a volume which should be compulsory reading at every English university in order to open the eyes of the disdainful.
D136 Lane, Lauriat, Jr. Rev. of The Oxford Book of Canadian Verse: In English and French. The Dalhousie Review, 41 (Spring 1961), 111, 113, 115. The reviewer writes as a relative newcomer to Canadian literature, representing "the far-too-large group of readers, English and American, and Canadian, who for varied and complex reasons do not know or even know of Canadian literature, above all Canadian poetry, as they should." The anthology may reveal the lack of any major longer poems in Canadian poetry. The shorter poems stand beside the best poetry written in England and the United States in the past fifty years.
D137 Sergeant, Howard. "Poetry Review." English [London, Eng.], 13, No. 76 (Spring 1961), 157. Smith's Introduction is admirable. Natives and cosmopolitans alike borrowed heavily from other literatures and not until the 1930s was there any real evidence of the development of an essentially Canadian poetry.
D138 Simpson, Louts. "Canadian Lights, Flashes and Fizzles." The Hudson Review, 14, No. 1 (Spring 1961), 150-54. Simpson argues that in comparison to American poetry, the poetry included here represents only a level of general ability, not greatness. The avantgarde is not represented. Smith has done "a bold and happy thing in packing the verse written before 1900 into less than a quarter of the volume."
D139 Wilson, Milton. "Letters in Canada: 1960. Poetry." University of Toronto Quarterly, 30 (July 1961), 401. Wilson is sceptical about Smith's criteria of excellence. "The French and English selections interweave like the independent plots of a minor Elizabethan play. If by chance they happen to shed mutual light on one another it is certainly not part of the design." Perhaps the best summary follows: "This anthology is the result of an admirable and successful compromise between three aims: a) to cover the historical range of Canadian poetry, b) to include as many poets as possible, and c) not to defeat Mr. Smith's own poetic standards of economy, accuracy, intensity, and purity. The result is a triumph of compromise as well as taste."
D140 Miller, Peter. "A Dual Record." Poetry [Chicago], 99 (Feb. 1962), 324-26. The title refers to Canadian literary history which is "twin born." Smith "rejects all hedging." He provides a justly reasoned Introduction and a wellbalanced choice of poems, embracing both English- and French-Canadian poetry. "As his selection is the first to give this dual record, it breaks upon us with a special clamor to be read."
D141 Newlove, John. "Critics at Large." CBC [Vancouver], 28 Jan. 1964, 5 pp. Newlove disqualifies himself as not competent to comment on the French. But he maintains that our best poets are slightly represented and it is obvious that the beginnings of Canadian poetry are not to be discovered in Canada. Newlove objects to English snobbishness and simpering literary politicians. He concludes, "Despite all my complaints, anyone would have made a great many mistakes with such a difficult task to handle -- but he has brought out and preserved much that is good and for this he deserves our thanks."
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
Item Number: ABCMA04ASP2000004004004013
Record: 145- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; The Worldly Muse: An Anthology of Serious Light Verse
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- Part 2 Works On A.J.M. Smith; Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 4
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- Burke, Anne (compiler)
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- Bibliography
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: WORLDLY muse: An anthology of serious light verse (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
Book Control ID: ABCMA04ASP2
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Source: Part 2: Works On A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 310-366
Part 2 Works On A.J.M. Smith; Selected book reviews; The Worldly Muse: An Anthology of Serious Light Verse
Burke, Anne (compiler)
D105 MacDonald, Gerald. Rev. of The Worldly Muse: An Anthology of Serious Light Verse. Library Journal, 15 Dec. 1951, p. 76. The poems have a tone of lightness and the effect of seriousness, ranging over the common interests of mankind.
D106 Fowke, Edith. Rev. of The Worldly Muse: An Anthology of Serious Light Verse. The Canadian Forum, April 1952, p. 21. "A. J. M. Smith's 'Worldly Muse' must be a very close relation of George Meredith's 'Comic Spirit' .... I found the book completely delightful."
D107 Rev. of The Worldly Muse: An Anthology of Serious Light Verse. The Nation, 26 June 1952, p. 92. The anthology is useful and a good birthday gift, which needed more pre-Christmas publicity. Smith is not as well known as he ought to be this side of his native Canadian border. "He is a bright, gay poet who has here brought together many different kinds of bright gay pieces to form an altogether delightful anthology."
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
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Record: 146- Title:
- Part 2 Works On A.J.M. Smith; Selected book reviews; Towards a View of Canadian Letters: Selected Critical Essays 1928-1971
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- Part 2 Works On A.J.M. Smith; Selected book reviews
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- Burke, Anne (compiler)
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- Authors discussed: SMITH, A.J.M.; SMITH, A.J.M. -- Criticism & interpretation -- Bibliography
Titles critiqued: TOWARDS a view of Canadian letters: Selected critical essays 1928-1971 (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Burke, Anne (compiler) Part 2: Works On A.J.M. Smith.
Publisher Information: Toronto, Ontario : ECW Press, 1983. (pp. 310-366)
ISBN: 920802524 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4
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Source: Part 2: Works On A.J.M. Smith. Burke, Anne (compiler); Toronto, Ontario : ECW Press, 1983, pp. 310-366
Part 2 Works On A.J.M. Smith; Selected book reviews; Towards a View of Canadian Letters: Selected Critical Essays 1928-1971
Burke, Anne (compiler)
D65 Fulford, Robert. "Unless You've Made a Smith Anthology You Don't Quite Count in Poetry Circles." Toronto Star, 19 Jan. 1974, p. 65. Fulford applauds Smith's promotion of an intellectual approach to Canadian letters in his "careful, scholarly book." Although no overt theme ties these essays together, they are "united by a consistent tone of shrewd intelligence."
D66 King, Carlyle. "Letters in Canada: 1973. Humanities." University of Toronto Quarterly, 43 (Summer 1974), 411-12. This is "literary criticism at its best." The essays, grouped in appropriate categories, stress the intellect and European tradition for our poets. This collection about Canadian letters has not been bettered.
D67 Geddes, Gary. "To the Critic Not His Song." The Globe and Mail, 13 July 1974, p. 31. In a general review-article of Canadian criticism, Smith's critical position and influence are noted to be "the most consistently interesting and intelligent." He has "applied himself regularly and seriously to the task of examining Canadian literature." Although Smith is given to weak generalizations and his line of criticism is too conventional, he is very aware of the strengths in language. Smith's poetry is tedious and detached and, like his criticism, "reveals a personality that functions best with the aid of masks and systems; Smith fears the irrational and unexpected." Geddes praises Smith's courage and notes his necessary place in the development of Canadian literary tradition, both in his reaction against the previous poetic and in the present reaction against Smith's poetic.
D68 Buitenhuis, Peter. Rev. of Towards a View of Canadian Letters: Selected Critical Essays 1928-1971. The Canadian Forum, Sept. 1974, p. 50. Smith as "eminence grise" of Canadian poetry -- he is our best anthologist of Canadian literature and his essays record "historic moments in the emergence of the serious consideration of our literary heritage." His own poems are provincial. Smith replies in The Canadian Forum, January 1975, page 35 (B466). "I would submit that to be limited always to the colloquial or the contemporary is also to be provincial."
D69 Stevens, Peter. Rev. of Towards a View of Canadian Letters: Selected Critical Essays 1928-1971. World Literature Written in English, 13 (Nov. 1974), 257-59. The book "attempts to discuss the question of the force of reality embodied in the realistic mode and its relation to romanticism." Through "eclectic detachment," the isolation of the Canadian poet is made an advantage. While the historical surveys are most valuable, the essays on individual poets are merely glimpses. Smith is one of Canada's "sanest commentators."
D70 David, Jack. "ART Smith." Essays on Canadian Writing, No. 1 (Winter 1974), pp. 63-64. Smith's view of Canadian letters, primarily of poetry, is constant, but does not achieve a satisfying unity. Smith's vision was shaped by international standards of evaluation and the view of poetry as purified language. David's review focuses on how Smith adhered to these criteria in various essays. After suggesting weaknesses of style and judgement (the latter characteristic of Smith's evaluative criticism), David concedes that, ultimately, Smith allows us to come to our own conclusions.
D71 Wayne, Joyce. "Eclectic Detachment: On the Right ... A.J.M. Smith." It Needs to Be Said, No. 5 (1975), p. 2. "The collection of essays is a history of the progression of the Intellectual sellout; the inability of the bourgeois academic to translate youthful idealism into a popular feeling and a theory of poetry which would clarify the dialectic between art and life. Instead, Smith's modernism moves away from its initial simplicity and good sense into an area of elitism and isolation."
D72 Dragland, Stan. Rev. of Towards a View of Canadian Letters: Selected Critical Essays 1928-1971 Humanities Association Review, 26 (Winter 1975), 73-74. Dragland admits his favourite piece of Canadian criticism is the first part of the Preface to Other Canadians, "a nasty, passionate blast at Smith's position," so his survey of the essays is less than objective. He respects Smith's career as an anthologist (not as a poet), but doubts the tendencies which Smith pointed out have had much lasting suggestiveness. "The Poetry of Duncan Campbell Scott" is a brilliant, original work. The rest of the first section consists of overviews (necessary spadework) for which Smith deserves much credit. His criticism is of historical interest, since the subjects have become obvious and uninteresting today. The most rewarding sections are the useful essays on the Moderns. He is at his best "working at close range." Dragland argues that the TISH movement has superseded the Smith-Frye-D. G. Jones "majority view" of Canadian poetry.
D73 Ware, Martin. "The Canadian Critic's Bible." Dalhousie Review, 55 (Spring 1975), 170-83. A study and a review of Smith's collected criticism. Ware presents images of Smith as Noah and Moses. As a Maritimer, the reviewer regards Smith as a sometimes perverse "landsman." The book is "the most important collection of the criticism of Canadian poetry yet to have been published." Attention is paid to "pure poetry" as a central tenet of Smith's aesthetics.
D74 Warkentin, Germame. "Criticism and the Whole Man." Canadian Literature, No. 64 (Spring 1975), pp. 83-91. "It is the achievement of Smith's critical career that he sharpened -- when we needed to have it sharpened -- the distinction between pious and pure poetry. It is his failure that he was unable to build in criticism a bridge between the pious and the pure .... " A detailed and elaborate analysis of Smith's critical thought, including his profound national and international influence.
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Source: Burke, Anne (compiler); . Part 2: Works On A.J.M. Smith, Toronto, Ontario : ECW Press, 1983. pp. 310-366 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 4 ISBN: 920802524 (hardcover), Book ID: ABCMA04ASP2.
Item Number: ABCMA04ASP2000004004004006
Record: 147- Title:
- Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Books
- Other Title:
- Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Books
Kendle, Judith (compiler)
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C1 Conron, Brandon. Morley Callaghan. Twayne's World Authors Series, No. I. New York: Twayne, 1966. 188 pp. A reliable guide to the factual details of Callaghan's writing career and works. Includes "criticism by exposition" of most of his collected short stories, all of his novels and miscellaneous prose works, and his unpublished plays up to 1965; biographical information gathered in conversauons with the author; a useful "Chronology"; and a selected bibliography. Although Conron admits the equivocal nature of Callaghan's reputation as a novelist, he insists that "his place as a world author is beyond dispute."
C2 Hoar, Victor. Morley Callaghan. Studies in Canadian Literature, No. 4. Toronto: Copp Clark, 1969. 113 pp. An extended essay in two parts ("Technique" and "Themes") in which Hoar maintains that the novels of Callaghan's middle period are his best, whereas by the 1930s his stories had hardened into a formula "from which he only occasionally emerged." Part One includes brief discussions of possible influences, the simplicity of Callaghan's language, structure, images, symbols, and the use of a centre of intelligence as his principal narrative mode, as well as extended analysis of the novellas, "In His Own Country," "An Autumn Penitent," and No Man's Meat. The latter is regarded as a frank send-up of Freudian psychology. In Part Two, while admitting the Naturalism that dominates the early works, Hoar suggests that "determinism is not so much the novelist's point of view as it is his subject," speculates inconclusively about the influence of Jacques Maritaln, and concludes that the author is essentially a religious novelist with Existentialist affinities, who believes in "the transforming power of the shock of recognition." Throughout, Hoar expresses his preference for locating Callaghan "in an American tradition rather than in one that is singularly Canadian."
C3 Sutherland, Fraser. The Style of Innocence: A Study of Hemingway and Callaghan. Toronto: Clarke, Irwin, 1972. 120 pp. A comparative study of Hemingway and Callaghan, which examines the parallels and intersections in their lives and works. While there are similar patterns in their professional careers, and certain kinds of character types are shared("smashed men," "the young man starting out," "boon comrades," and "victimized women"), the childhood backgrounds of the two men, their lifestyles, and, ultimately, their world-views are "sharply diverg[ent]." Callaghan comes closest to Hemingway in matters of technique, but even this influence wanes after They Shall Inherit the Earth; "one finds it strongest in the early stories." Callaghan gets the fullest treatment here, though his post-1951 work, with the exception of That Summer in Parts, is ignored. He is assessed as "an important writer, perhaps the best in English Canada," whose influence, though "slight," upon such writers as Mordecai Richler, Hugh Hood, and Hugh Garner, cannot be denied.
C4 Linder, Andrew. Such Is My Beloved, More Joy in Heaven, and Other Works: Notes. Coles Notes. Toronto: Coles, 1974. 74 pp. A study guide, including chapter summaries and commentary upon such matters as structure, theme, character analyses, and style, for the above titles, plus That Summer in Paris, They Shall Inherit the Earth, and The Loved and the Lost. Also includes review questions and a bibliography.
C5 Conron, Brandon, ed. and introd. Morley Callaghan. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975. 156 pp. A collection of previously published articles and book reviews, covering the period 1928-70. Includes Callaghan's article "An Ocean Away" (B327) separately listed in Section B and an award citation listed in Section C. Annotations of individual articles and selected reviews appear with their original publication citation in Sections C and D. Includes Margaret Avison, "Callaghan Revisited" (D96), R. P. Blackmur, "Review of A Native Argosy" (D87); John Chamberlain, "Morley Callaghan's Inarticulate People" (D83); Cleveland B. Chase, "Morley Callaghan Tells What a Bootlegger Thinks About" (D3); Mary M. Colum, "The Psychopathic Novel" (C73); Brandon Conron, Bibliography (C352) and Introduction (C353); Jonathan Daniels, "Night of the Soul" (D22); Horace Gregory, "Mr. Callaghan's Medium" (D16); Sinclair Lewis, "The American Scene in Fiction" (C41); Wyndham Lewis, "What Books for Total War?" (C110); Norman Mailer, "Punching Papa: A Review of That Summer in Paris" (D107); Hugo McPherson, "The Two Worlds of Morley Callaghan" (C173); Max Perkins, "To Morley Callaghan" (C145); Malcolm Ross, "Morley Callaghan" (C191); William Saroyan, "The Adventures of American Writers in Paris in 1929" (D108), William Walsh, "Morley Callaghan" (C279); Anthony Ward, "A Way of Feeling" (D65); Frank Watt, "Morley Callaghan's A Passion in Rome" (D63); Robert Weaver, "Introduction to Strange Fugitive" (C280); Edmund Wilson, "Morley Callaghan of Toronto" (C199); Milton Wilson, "Callaghan's Caviare" (D61); and George Woodcock, "Lost Eurydice: The Novels of Morley Callaghan" (C235).
C6 Morley, Patricia. Morley Callaghan. Canadian Writers, No. 16. Toronto: McClelland and Stewart, 1978.7z pp. A frankly personal reading; Morley prefers Callaghan the novelist to Callaghan the short story writer and sees his literary vision developing through three main phases: "an initial decade which focuses upon the redemptive possibilities of compassionate love; some fifteen post-war years where the emphasis shifts to prudence and the necessity for self-knowledge; and the novels of the 1970s which express a philosophy of vitalism." The result is a brisk trot through all the novels, collected stories, one play, and miscellaneous works, and several heterodox opinions: Callaghan possesses not only a strong sense of place and an ironic sense of humour, but the two novels of the fifties are "among [his] most successful work." The study concludes with a selected bibliography.
C7 Staines, David, ed. and introd. The Callaghan Symposmm. Reappraisals: Canadian Writers Series. Ottawa: Univ. of Ottawa Press, 1981. 123 pp. A collection of seven disparate papers, "from a variety of important, and, in some cases, untried perspectives," plus the edited transcript of a panel discussion, given at the Callaghan Symposium, held at the University of Ottawa on 24-25 April, 1980. The volume also includes a partial list of Callaghan's writings, complied by the editor. Annotations of individual articles appear with their original publication citation in Section C. Includes Daniel Aaron, "Morley Callaghan and the Great Depression" (C449); Barry Cameron, "Rhetorical Tradition and the Ambigmty of Callaghan's Narrative Rhetoric" (C450); Brandon Conron, David Helwig, Patricia Morley, and Donald Stephens, "The Achievement of Morley Callaghan." Panel Discussion. Moderator Glenn Clever (C451); Leon Edel, "Literature and Journalism: The Visible Boundaries" (C452); Ray Ellenwood, "Morley Callaghan, Jacques Ferron, and the Dialectic of Good and Evil" (C453); Barbara Godard, "Across Frontiers: Callaghan in French" (C454); Larry [Laurence] McDonald, "The Civilized Ego and Its Discontents: A New Approach to Callaghan" (C455); Patricia Morley, "Morley Callaghan: Magician and Illusionist" (C456); and David Staines, Introduction (C468).
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
Item Number: ABCMA05MCP2000005001003001
Record: 148- Title:
- Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Articles and sections of books
- Other Title:
- Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Articles and sections of books
Kendle, Judith (compiler)
C8 "Youthful Toronto Author Shuns Conventions Bonds." Star Weekly [Toronto Daily Star], 20 March 1926, p. 12. Callaghan's story, "A Girl with Ambition," is published in This Quarter, and he is hailed as a local celebrity. Includes comments by the author on the state of Canadian literature and criticism, plus a photograph.
C9 D[eacon]., W[illiam]. A[rthur]. "Saved from the Waste-Basket." Saturday Night, 22. Jan. 1927, p. 12. Deacon explains who Morley Callaghan is in response to a letter from the ailing B. K. Sandwell.
C10 "Toronto Fictionist Joins Celebrities." Star Weekly [Toronto Daily Star], 17 March 1928, p. 23. The article reports the sale of "a book of short stories" (A Native Argosy) by Callaghan to Scribners and claims that much of it was actually written in a law office.
C11 "It Is Reported That--." Canadian Bookman, June 1928, p. 176. A monthly feature of literary news items which includes a brief (and inaccurate) report of Callaghan's remove to New York: "... the rising young Toronto author, Morley Callaghan, has gone to New York to join the staff of Scribner's Magazine."
C12 Hansen, Harry. "The First Reader." The World [New York], 29 June 1928, p. 13. A whole column devoted to Callaghan's two-story debut in Scribner's Magazine for July 1928. His appearance is regarded as symptomatic of the recent move in the old conservative monthlies to admit the "new realism," and he is referred to as "one of the youngest of the dissenting writers." Includes analysis of "A Country Passion," "Ancient Lineage," "A Predicament," and "A Regret for Youth."
C13 "Two Stories by Morley Callaghan." Scribner's Magazine, July 1928, p. 37. A brief introductory note to mark Callaghan's debut in Scribner's: "... on that other occasion when we presented two stories in the same number the writer was Ernest Hemingway." Callaghan's "strength, individuality, and versatility" are also praised. The two stories in question are "A Predicament" (B9) and "A Regret for Youth" (B10).
C14 Hansen, Harry. "The First Reader." The World [New York], 3 July 1928, p. II. Hansen receives letters from "radical writers," denouncing him because he did not write about Callaghan before he was published by Scribners. He quotes from Bernard Smith, one of the editors of New Masses, and Herman Spector.
C15 "Callaghan's Success Is a Record of Sudden Fame." Star Weekly [Toronto Daily Star], 7 July 1928, Sec. Gen. No. I, p. 4. Reports the sale of "a novel, a book of short stories, and a couple of other stories" to Scribners, "despite the fact that [Callaghan] is still almost unknown to the general reading public."
C16 Lawrence, Margaret. "Morley Callaghan." Saturday Night, 14 July 1928, pp. 8, II. Profile on Callaghan after the publication of two of his stories in the July issue of Scribner's Magazine. Includes comments by the author about his "literary faith," and the need to get back to one's native sources, plus a drawing of him by Arthur Lismer.
C17 "Forthcoming." Canadian Bookman, Aug. 1928, p. 228. Notes the forthcoming publication of The Second American Caravan: A Yearbook of American Literature, edited by Lewis Mumford et al., and Callaghan's inclusion therein (see B6).
C18 Salpeter, Harry. "The First Reader." The World [New York], 17 Aug. 1928, p. 23. Includes a brief announcement of the publication of Strange Fugitive.
C19 Salpeter, Harry. "The First Reader." The World [New York], 18 Aug. 1928, p. 9. Whole column is devoted to a review of Strange Fugitive, described as "a brilliant tour de force." Salpeter also remarks on the book's "muscular language," its resemblance to Hemingway, and its objectivity.
C20 Sutton, Harold F. "The Bookshelf." Saturday Night, 18 Aug. 1928, p. 10. Includes a one-paragraph mention of the publication of Strange Fugitive. Also includes comments by Callaghan that he was intended for politics rather than literature.
C21 Salpeter, Harry. "The First Reader." The World [New York], 19 Aug. 1928, p. 7M. Callaghan is featured on the Sunday book page. Salpeter quotes several examples of his "salty dialogue," in order to prove his similarity to Hemingway, and suggests that he possesses "a sure instinct for the stage." Includes an autographed drawing of the author by O'Leary.
C22 "Says Toronto Is Aloof from Literary World." Toronto Daily Star, 25 Aug. 1928, p. 13. Includes comments by Callaghan about Canadian literary critics.
C23 Vining, Charles. "Under Our Nose -- Young Callaghan from Toronto Cracks New York Open with First Novel." Star Weekly [Toronto Daily Star], 15 Sept. 1928, Sec. Gen. No. I, p. I. A full-page feature article on Callaghan. Includes biographical information, reactions of the New York critics, comments by the author about his writing methods, and two extracts from Strange Fugitive.
C24 Macdonald, Malcolm. "Malcolm Not Excited over Morley Callaghan." Letter. Star Weekly [Toronto Daily Star], 29 Sept. 1928, Sec. Gen. No. I, p. II. A complaint about the Star Weekly's pandering to New York literary tastes. Callaghan's dialogue "may be true to life. . . and yet gross waste and pure bunk."
C25 Sandwell, B. K. "Only the Rich Should Write Novels." Saturday Night, 6 Oct. 1928, Autumn Lit. Supp., p. 2. In a piece in which he speculates about the ideal apprenticeship for a writer, Sandwell suggests, briefly, that Callaghan's Strange Fugitive is "an Amemcan novel." This is the case because "there is very little characteristic Canadian life in Toronto." Includes a drawing of Callaghan by Ernest King.
C26 Salpeter, Harry. "Morley Callaghan, Early Matured." The World [New York], 14 Oct. 1928, p. 10M. Profile on Callaghan which stresses his distrust of verbal glibness and his self-confidence. Includes comments by the author about his public speaking prowess, his early attempts at writing poetry and stories, and his literary beliefs.
C27 "Canada Should Not Be a Second-Edition of English Ideas." The Varsity [Univ. of Toronto], 18 Oct. 1928, p. I. In the aftermath of his address to the Newman Club, Callaghan explains what he means by "American."
C28 Gibson, J. G. "Wandering Toronto." Letter. The Globe [Toronto], 23 Oct. 1928, p. 4. Strange Fugitive is not an accurate portrait of Toronto; indeed it "libels a whole city."
C29 "Women's Press Club Hear M. Callaghan." The Varsity [Univ. of Toronto], 9 Nov. 1928, p. I. Callaghan advocates writing to please oneself.
C30 "Morley Callaghan at Heliconian Club." Mail and Empire [Toronto], 14 Nov. 1928, p. 13. Callaghan rouses a storm of protest by suggesting that New York is the literary capital of the North American world.
C31 Suckow, Ruth. "Canada's Short Stories: A Promise of Vigor." Rev. of Canadian Short Stories, ed. Raymond Knister. The World [New York], 9 Dec. 1928, p. 11M. Brief mention of Callaghan's story, "Last Spring They Came Over," and the similarity of his method to Ernest Hemingway's.
C32 Brooker, Bertram. "When We Awake! A General Introduction." In Yearbook of the Arts in Canada 1928-1929. Ed. Bertram Brooker. Toronto: Macmillan, 1929, p. 9. Bertram Brooker cites Callaghan as an example of a Canadian writer whose work is more widely appreciated abroad than at home.
C33 Deacon, William Arthur. "Literature in Canada--In Its Centenary Year." In Yearbook of the Arts in Canada 1928-1929. Ed. and introd. Bertram Brooker. Toronto: Macmillan, 1929, pp. 28-29. Rpt. in William Arthur Deacon: A Canadian Literary Life. By Clara Thomas and John Lennox. Toronto: Univ. of Toronto Press, 1982, p. 293. Callaghan is mentioned briefly in Deacon's review of the year's work in Canadian literature. Although the author is regarded as a "brilliant debutant," he is chided for the "drab and sordid" nature of his subject matter, and advised to "get an idea to match his craftsmanship."
C34 Elson, John Mebourne. "The Canadian Literary Scene." Canadian Bookman, Jan. 1929, p. [I]. Callaghan is included in a list of Canadian authors "who are writing, and getting a market."
C35 "In His Own Country by Morley Callaghan." Scribner's Magazine, Jan. 1929, p. [I]. A brief note on the cover of Scribner's Magazine introduces the first part of a three-part serialization of Callaghan's "In His Own Country"(B13, B14, B15). Callaghan "has placed himself in the front rank of contemporary writers" with his earlier writings, and this novel "reveals even more clearly [his] strength in the use of the clean, hard, compact style which has aroused the admiration of critics and readers."
C36 Morton, Guy. "Canadian Writer Becomes Prophet in Another Land." Mail and Empire [Toronto], 5 Jan. 1929, p. 17. A profile on Callaghan "as the latest comer." Morton describes his "fame" in certain American literary circles, despite the fact his novel, Strange Fugitive, is a "flop" at home. Callaghan comments on his luck at being fired several times from his job as a newspaper reporter and his "direct style." Morton suggests there is a Russian influence on the plot of "In His Own Country."
C37 " 'Let Stories Come Easily.' Advises Morley Callaghan." Mail and Empire [Toronto], 21 Feb. 19Z9, p. 5. A report of Callaghan's lecture at the University of Toronto.
C38 "Morley Callaghan Analyses Masters of Short Story." The Varsity [Univ. of Toronto], 21 Feb. 1929, p. I. A report of Callaghan's lecture at the University of Toronto.
C39 "Morley Callaghan to Wed Miss Loretta [sic] Dee in April." Star Weekly [Toronto Daily Star], 16 March 1929, p. 12. Announces Callaghan's marriage plans and his trip to Paris. The length of his stay is still "indefinite." The young author has "more literary friends" in Paris than in Toronto, but "will still keep to Canadian settings." Includes a photograph of Loretto.
C40 "Morley Callaghan." Wilson Library Bulletin, April 1929, p. 618. Brief biographical sketch.
C41 Lewis, Sinclair. "The American Scene in Fiction." New York Herald Tribune Books, 14 April 1929, pp. I, 6. Rpt. (abridged) in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 30-33. In a piece urging a fresh look at native American settings, Lewis suggests that "No one today . . . is more brilliantly finding the remarkable in the ordinary than Morley Callaghan."
C42 "Morley Callaghan and His Bride." Toronto Daily Star, 16 April 1929, p. 2. Wedding photograph. Caption reads in part: "The groom sprang into the literary limelight a short time ago with the publication of his first novel, 'The [sic] Strange Fugitive'."
C43 "Morley Callaghan Leaves for Paris Taking His Bride." Toronto Daily Star, 16 April 1929, p. 2,6. A detailed description of the Callaghans' wedding ceremony; suggests that "more than ordinary interest" centres on the marriage.
C44 "Morley Callaghan to Be Married Today." Mail and Empire [Toronto], 16 April 1929, p. 12. Wedding announcement: "Couple to Spend Year in Europe."
C45 Sutton, Harold E. "Strange Fugitives." Saturday Night, 27 April 1929, p. 8. Brief mention of Callaghan's marriage and the couple's plan to spend the summer in Paris. Sutton quotes at length from Sinclair Lewis' article praising Callaghan (see C41).
C46 "It Is Reported That--." Canadian Bookman, May 1929, p. 120. In a monthly feature of literary news items, a brief mention is made of Callaghan's wedding an departure for Paris.
C47 "Exit Morley Callaghan." Toronto Daily Star, 4 May 1929, p. 4. Callaghan as taken to task for leaving Canada and accused of writing "little or nothing that... could be called Canadian."
C48 "Callaghan Made Bet Not to Write of Paris." Star Weekly [Toronto Daily Star], 18 May 1929, Sec. Gen. No. I, p. 9. Announces that Callaghan "has just landed in Paris with his bride." Includes an account of his meeting and courtship of Loretto, the bet not to write about Paris, and the forthcoming publication of an article about the University of Toronto (B184).
C49 "Concerning Callaghan." Toronto Daily Star, 18 May 1929, p. 20. In response to a letter from "Mr. Thos. Callaghan" (Callaghan's father), the reviewer insists he meant no slight to the author in his piece, "Exit Callaghan" (see C47).
C50 Edel, Leon. "Paris Book Chat." The Montreal Star, 3 Aug. 1929, p. 22. Edel's first two paragraphs note Callaghan's presence in Paris "to observe. . .the Montparnassian scene": although Callaghan does not speak of his work, "it is understood that he has a new novel under way." Edel is billed as a special correspondent and his piece is dated "Paris, July 22."
C51 Bush, Douglas. "Is There a Canadian Literature?". Commonweal, 6 Nov. 1929, p. 13. Includes one paragraph on Callaghan. Bush regards him as an imitator of Hemingway's "hardboiled method," and suggests that he should give less attention to "the subnormal mind."
C52 "Toronto's Reading Tastes Attacked by Noted Writer." Mail and Empire [Toronto], 9 Nov. 1929, pp. I, 3. Callaghan is interviewed, upon his return from Europe, during Canadian Authors' Week. Although he maintains that official police censorship is negligible, he suggests that "The real Toronto censorship . . . is nothing less than the overwhelming mediocrity, the bourgeoisery, if there is such a word, of Toronto literary taste."
C53 Bancroft, Caroline. "Literary Lollypops." The Denver Post, 20 Nov. 1929, Sec. 2, p. 12. A column of literary news and gossip which includes the original (and apparently erroneous) account of the Callaghan-Hemingway boxing match repeated subsequently by Isabel Paterson in the New York Herald Tribune Books (C55) and denied by Callaghan (B402. Bancroft alleges that Callaghan challenged Hemlngway to the fight because of the latter's disparaging remarks about his boxing background and "knocked Hemingway out cold."
C54 Yorks, M. Uddy. "An 'Intolerant' City?". Letter. The Globe [Toronto], 14 Nov. 1929, p. 4. A tongue-in-cheek reply to Callaghan's charges of literary intolerance (C52).
C55 P[aterson]., I[sabel]. M. "Turns with a Bookworm." New York Herald Tribune Books, 24 Nov. 1929, p. 27. Paterson repeats Caroline Bancroft's story in The Denver Post about the Callaghan-Hemingway fight. (See C53.) See B402 for Callaghan's letter to Paterson denying the knock-out.
C56 "It Is Reported That--." Canadian Bookman, Dec. 1929, p. 282. In a monthly feature of literary news items, Callaghan is taken to task for his pronouncement about literary intolerance in Toronto and his opinions about booksellers (C52). The article comments, "Morley Callaghan has spoken!".
C57 Pattee, Fred Lewis. The New American Literature 1890-1930. New York: Century, 1930, pp. 461-64. Callaghan's novel, Strange Fugitive, is examined briefly in Chapter xxvii, "The Later Flood of Fiction," as a typical example of the "modern school." Pattee remarks upon the influence of Sinclair Lewis. The story is "placeless" but manifestly American, and Harry Trotter is a type of "the masterful, animalistic, selfish, physically dominant male so abundant in our free America."
C58 "Callaghan Finds Tea Varsity's Pet Habit" Mail and Empire [Toronto], 8 Jan. 1930, p. 5. Report of Callaghan's article on the University of Toronto, published in the February issue of College Humor (see B184).
C59 "College Humour Rates Toronto Degree Highest on Continent." The Varsity [Univ. of Toronto], 9 Jan. 1930, p. i. Report of Callaghan's article on the University of Toronto, published in the February issue of College Humor (see B184).
C60 Hale, Katherine. Rev. of The Best Short Stories of 1929, ed. Edward J. O'Brien. Canadian Bookman, March 1930, p. 61. In her review of O'Brien's annual anthology, Hale notes the reprint of Callaghan's "priceless [story], 'Soldier Harmon,'" and his inclusion(along with four other Canadian writers) in Edward O'Brien's "Roll of Honour."
C61 Eayrs, Hugh S. "Discovering Canada in Literature." Publishers Weekly, 2 June 1930, p. 2290. Callaghan as mentioned in a list of well-known Canadian fiction writers.
C62 "It Is Reported That- ." Canadian Bookman, Nov. 1930, p. 228. Callaghan's inclusion in Edward J. O'Brien's annual anthology, The Best Short Stories of 1930, is noted in a monthly feature of literary news items: six other Canadian authors "share equally with Callaghan the highest rank," inclusion in the honour roll at the back of the book: "Leslie Gordon Barnard, Donald W. Gillingham, Will Ingersoll, Roderick Stuart Kennedy, Raymond Knister, and Martha Thomas."
C63 "Morley Callaghan." In Living Authors: A Book of Biographles. Ed. Dally Tante. New York: Wilson, 1931, pp. 62-63. The earliest biographical dictionary entry; includes a list of Callaghan's works up to and including No Man's Meat (1931) and a brief account of has life.
C64 O'Brien, Edward J. The Advance of the American Short Story. Rev. ed. New York: Dodd, Mead, 1931, p. 275. Callaghan as mentioned briefly in Chapter xvii, "The New Generation," as one of "four writers of quality. . . who reveal Hemingway's influence in a healthy way." Callaghan is said to be "the most accomplished." The others are Robert McAlmon, Erskine Caldwell, and Whit Burnett.
C65 Roberts, Charles G. D. "A Note on Modernism." In Open House. Ed. William Arthur Deacon and Wilfred Reeves. Ottawa: Graphic, 1931, pp. 23-24. Callaghan is cited as an example of Roberts' point that Modernism has come more slowly and less violently to Canada than elsewhere. Strange Fugitive is compared wath Hemingway's The Sun Also Rises. Whereas "the latter as marred with eccentricities in the vogue of the moment," the former "does not date itself; and it may well appear as readable a hundred years hence as it does today."
C66 Winters, Yvor. "Major Fiction." Rev. of Flowering Judas, by Katherine Anne Porter. Hound & Horn, 4, No. 2 (Jan.-March 1931), 303-04. Porter's stories "have probably been surpassed in some measure by one or two writers of lesser talents, notably Mr. Morley Callaghan." The irony of the two writers is compared: whereas Miss Porter's is inseparable from an intensely tragic attitude, Mr. Callaghan's is "chemically pure." Hemingway is "the most popular" and Callaghan "the most distinguished representative" of "the contemporary objectivists."
C67 Beach, Joseph Warren. The Twentieth Century Novel: Studies in Technique. New York: Appleton-Century, 1932, pp. 504, 530, 538, 540-42. Callaghan's novels, Strange Fugitive and It's Never Over, and his short stories are compared briefly with those of Ernest Hemingway, W. R. Burnett, Edward Dahlberg, and Erskine Caldwell in Chapter xiii, "The Cult of the Simple." All are said to reflect "prevailing tendencies in present-day fiction," tendencies such as Neo-Realism, defined as a reaction against subjectivism, and " 'debunking' fever." Callaghan's "simplicity" is distinguished from Hemingway's.
C68 Steinhauer, H. "Canadian Writers of Today in Morley Callaghan." The Canadian Forum, Feb. 1932, pp. 177-78. Steinhauer calls Callaghan "the Zola of Toronto," although his portrait of that city strains credulity: "His defects are two: he has too great a fondness for melodrama . . . and other kinds of violence; and he almost never shows his characters thinking about life and its problems."
C69 Edgar, Pelham. The Art of the Novel: From 1700 to the Present Time. New York: Macmillan, 1933, pp. 223,364,480 (facing page). In the college edition examined here, Callaghan is mentioned briefly twice: in Chapter xxi, "H. G. Wells and the Modern Mind," he is described as "more definitely experimental" than Mazo de la Roche, while in Chapter xxix, "Omissions and Conclusions: Chiefly Lawrence," his work is lumped together with Ernest Hemingway's. Both writers are said to be "possibly moving too far [away from analysis]." Callaghan's name also appears under Ernest Hemingway's on a folding chart, entitled "Post Civil War Novel in the United States": he is listed in the Realist branch of the "post world war novel," said to be in "revolt against psychology."
C70 Uzzell, Thomas H., ed. Short Story Hits 1932: An Interpretwe Anthology. New York: Harcourt, Brace, 1933, pp. 288, 320. Callaghan is described in the "Critical Notes," page 288, as a writer who possesses the "rare quality of tenderness." His story, "A Sick Call," is said to touch on "the same theme Maupassant handled forty years ago in his famous 'Moonlight,'" and is categorized in Uzzell's "Technical Analyses of Stories," page 320, as a story of character and complication, with slight indication of theme. "A Sick Call" is reprinted, pages 184-92.
C71 "Behind the Scenes with Scribner Authors." Scribner's Magazine, Nov. 1933, Supplement, p. 22. Includes a photograph and a brief biographical note about Callaghan on the occasion of the publication of his story, "A Separation" (B38 in Scribner's.)
C72 Brown, E. K. "The Immediate Present in Canadian Literature." Sewanee Rewew, 41 (Oct.-Dec. 1933), 430, 431, 433-35, 442. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, p. 253. Callaghan is selected as fictional proof of Brown's thesis that "in our present phase, in which the artist is not an integral part of the national life, the attitude of sincere and profound writers will and must be one of protest in revolt." The novella, "In His Own Country," is read as "an emblem of the artist's relation with Canada."
C73 Colum, Mary M. "The Psychopathic Novel." Rev. of Such Is My Beloved, by Morley Callaghan; Tender Is the Night, by F. Scott Fitzgerald; and Come In at the Door, by William March. Forum and Century, April 1934, pp. 219-23. Rpt. (abridged) in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 47-54. A review article in which Colum compares the above three books and credits Callaghan with the greatest profundity: "one can foresee for him a continual growth, unless he does something to atrophy his faculties or ceases giving to them nutriment." Includes interesting comments about "Art and the Broken Mind," and "The Sensitized Type" of character found in Ivan Bunin's The Well of Days.
C74 Bridle, Augustus. "Publisher Enthuses Over Callaghan Book." Toronto Daily Star, 26 April 1935, p. 3. Bennett Cerf, the American publisher, is interviewed during a viit to Toronto. Among other things, he predicts that Callaghan's "next book [They Shall Inherit the Earth] will be much his best."
C75 Deacon, William Arthur. "Public Libraries Refuse to Stock Callaghan Books." Mail and Empire [Toronto], 25 Sept. 1935, pp. 1-2. Deacon interviews Callaghan, who deeply regrets the banning of Such Is My Beloved and They Shall Inherit the Earth in his "native city." Deacon concludes that "the Callaghan case is a direct challenge to artistic freedom in Canada." A second article under the above headline, entitled "Local Literary Leaders See No Reason for Disapproval," quotes Charles G.D. Roberts, Pelham Edgar, et al. in support of Callaghan. Dr. George H. Locke, Chief Librarian, cannot discuss the matter due to illness.
C76 "Denies Callaghan's Books Are Barred from Library." Toronto Daily Star, 25 Sept. 1935, p. 24. Dr. George H. Locke, Chief Librarian, says Callaghan's books are not on open shelves, but are available on request. Callaghan replies that this is the same as banning them.
C77 "Much Ado about Nothing in Case of Callaghan." The Telegram [Toronto], 25 Sept. 1935, p. 3. Dr. George H. Locke, Chief Librarian, explains the difference between open and closed shelves, and regrets the fact that Callaghan and his publisher did not see him first before "rushing into print."
C78 "Ban on Book Is Denied." The Globe [Toronto], 26 Sept. 1935, p. 9. Dr. George H. Locke, Chief Librarian, denies Callaghan's books are banned, but insists he has a responsibdity to protect the morals of children and other patrons of the public libraries.
C79 "Callaghan Is Blunt in Refuting Claims of City Librarian." Mail and Empire [Toronto], 26 Sept. 1935, p. I. Callaghan accuses Dr. George H. Locke, Chief Librarian, of "quibbling" and being "misleading" in his comments to the press. Hugh Eayrs, managing director of Macmillan's, and Callaghan's pubhsher, also comments.
C80 "Discretion Is an Asset in Public Library Purchases" Editorial. The Telegram [Toronto], 26 Sept. 1935, p. 6. Suggests that Callaghan's books are "not suited to the purposes of a public library."
C81 "Library Board Chairman to 'Look into' Book Rift." The Telegram [Toronto], 26 Sept. 1935, p. 3. N. B. Gash, K.C., Chairman of the Library Board, says he intends to look into the book banning charges by Callaghan.
C82 McAree, J. V. "Two Different Views on Mr. Morley Callaghan." Editorial. Mail and Empire [Toronto], 3 Oct. 1935, p. 6. McAree quotes at length from a letter which upports Dr. George H. Locke and objects to Callaghan's use of "coarse words." McAree then goes on to defend the author on the grounds of freedom of speech. His "international reputation in the field of letters ought to have won him special consideration from library officials here."
C83 "Callaghan, Hemingway as Reporting Buddies." Editorial. The Varsity [Univ. of Toronto], 20 Nov. 1935, p. 2. "As the Canadian book week is upon us," Callaghan is pointed to as one who writes "sound" Canadian novels.
C84 Davis, H. J. "Morley Callaghan." The Canadian Forum, Dec. 1935, pp. 398-99. A review article in which Callaghan's "method of simplification" is said to produce "a clarity and a definiteness of pattern." The "most powerful concentration" is found in Such Is My Beloved; They Shall Inherit the Earth is "an attempt at a greater complexity and variety of design." Davis also comments on the successful, dramatic symbolism of the wolves and frozen deer in the snow.
C85 Preston, Bernard. "Toronto's Callaghan." Saturday Night, 18 Jan. i936, p. 12. A profile on Callaghan which emphasizes the quality of his mind and conversation. Includes physical description of his home and person, character analysis, a catalogue of his interests and pursuits, a brief recapitulation of his early career and publishing record, and comments about his "method of creation." Preston concludes that Callaghan is a "brilliant son of Canada . . . of whom the Dominion may boast with all due pride."
C86 "Callaghan Guest at Victoria Debate." The Varsity [Univ. of Toronto], 3 March 1936, p. I. Callaghan is guest speaker at Victoria Debating Parliament's final debate of the term and is expected to oppose the motion for vigorous censorship of the press and theatre.
C87 "Callaghan Guest at Debate Tonight." The Varsity [Univ. of Toronto], 9 March 1936, pp. 1, 4. Notice of Victoria Debating Parliament's debate: resolved "that this House favours a vigorous censorship of the Press and Theatre." Callaghan is guest speaker against the motion.
C88 "Morley Callaghan Raps Censorship." Mail and Empire [Toronto], 10 March 1936, p. 4. Report of Callaghan's address "last night" at the Victoria Debating Parhament, University of Toronto. Callaghan reportedly claims that the characteristic intent of the censor is "essentially anti-Christian."
C89 Deacon, William Arthur. "The Canadian Novel Turns the Corner." The Canadian Magazine, Oct. 1936, pp. 16, 38-40. Rpt. in Yearbook of the Arts in Canada, 1936. Ed. Bertram Brooker. Toronto: Macmillan, 1936, pp. 208-17. Deacon judges 1927 to have been a pivotal year in Canadian literature, and applauds the diversity of Mazo de la Roche, Laura Goodman Salverson, E. P. Grove, and Morley Callaghan. Callaghan has made the "most spectacular advance"; Such Is My Beloved and They Shall Inherit the Earth are "novels of the first rank." Includes comments on other novelists.
C90 "Latest Book News." Canadian Bookman, Oct. 1936, p. 10. Callaghan's Now That April's Here is included in a list of "New and Announced" Canadian books. The collection of short stories is said to add "appreciably to the fame of this rising Canadian novelist."
C91 "A Canadian Master of Short Stories." Star Weekly [Toronto Daily Star], 14 Nov. 1936, Sec. Gen. No. I, p. 6. A ten-year retrospective piece on Callaghan's career. Includes comments by the author about his writing methods and the usual pattern of his day, and an erroneous account of his meeting with Loretto.
C92 Schoolman, Regina. "Is There a Canadian Literature?". Story, 10, No. 56 (March 1937), 7, 119. Schoolman presents a historical overview of the French and English streams in Canadian literature, which emphasizes past impediments to native literature and the present vitality of the cultural scene. De la Roche, Grove, and Callaghan are singled out: "Morley Callaghan was the youngest of the new interpreters, and the most significant." Includes some harsh comments about the Canadian Authors Association.
C93 "Morley Callaghan." Senior Scholastic, 13 March 1937, p. 4. In a brief biographical note accompanying the reprint in Senior Scholastic of Callaghan's story "The Snob" (B48), the editors quote at length from a review in The New York Times Book Review of Callaghan's short story collection Now That April's Here and Other Stories (see D90) and suggest that he "has won for himself the reputation of being Canada's most promising writer."
C94 "Canada Is Asked for Cooperation." The New York Times, 17 June 1937, p. 24. A report of the second conference on Canadian-American affairs held in Kingston, Ontario. B. K. Sandwell, speaking on imaginauve literature in the United States and Canada, cites Callaghan as a Canadian author who has had little popularity in his own country because of his sophistication, and calls for greater tolerance by the Canadian public.
C95 "A New Edition." The Telegram [Toronto], 7 July 1937, p. 8. A brief item in the "Between You and Me" column which mentions the birth of Callaghan's second son, his plans "to stay for some time" in Toronto, and the publication date of his forthcoming novel, More Joy in Heaven, on 29 October. Callaghan says the novel isn't finished yet. A job offer in Hollywood is also rumoured.
C96 "Canadian Authors Are Praised on [sic] Morley Callaghan Address." The Varsity [Univ. of Toronto], 2 Nov i937, p. 4. Callaghan speaks at the Canadian Literature Club.
C97 "Morley Callaghan Discusses Writers." The Globe and Mail, 3 Nov. 1937, p. 11. Callaghan speaks at the Canadian Literature Club on "Some Contemporary American Authors."
C98 "No Hope in Dominion for Talented Writers, Declares Callaghan." The Globe and Mail, 6 Nov. 1937, p. 19. Callaghan speaks to the Canadian Association of Bookmen at the Book Fair, King Edward Hotel, Toronto.
C99 Brown, E. K. "The Contemporary Situation in Canadian Literature." In Canadian Literature Today: A Series of Broadcasts Sponsored by the Canadian Broadcasting Corporation. Toronto: Univ. of Toronto Press, 1938, pp. 10-11, 12. In a piece in which he discusses the economic and psychological impediments to a mature Canadian literature, Brown cites Callaghan as an example of the third course of action open to a serious writer, that of continuing to reside in Canada, while becoming "economically, at least, a member of another nation and civilization." He speculates about the effect of this upon the novels and stories: "the Toronto which appears in them is not an individualized city, but simply a representative one."
C100 McAlmon, Robert. Being Geniuses Together: An Autobiography. London, 1938; rpt. facsimile Ann Arbor, Mich. : Univ. Microfilms, 1969, pp. 163-64, 271-72. Being Geniuses Together 1920-1930. Rev. ed. Ed. Kay Boyle. New York: Doubleday, 1968, pp. 176-77, 180-82, 205. An autobiographical account of McAlmon's life as an expatriate writer in Europe. Includes a brief, second-hand account of the Callaghan-Hemingway boxing match, a comparison of their writing, plus a brief mention of Callaghan's presence, along with other famous literary figures, at La Coupole, a cafe in Montparnasse.
C101 McAree, J. V. "Literary Teas and Native Authors." Editorial. The Globe and Mail, 15 Feb. 1938, p. 6. A sympathetic, if tongue-in-cheek, comment on Callaghan's article in the Umversity of Toronto Quarterly, "The Plight of Canadian Fiction" (B192). Includes quotations from the article itself.
C102 "Morley Callaghan Addresses Club." The Varsity [Univ. of Toronto], 17 March 1938, pp. 1, 4. Report of Callaghan's speech to the English and History Club at St. Joseph's College.
C103 Grove, Frederick Philip. "The Plight of Canadian Fiction? A Reply." University of Toronto Quarterly, 7 (July 1938), 451-67. In response to an article in which Callaghan blames book publishers and editors of magazines for weaknesses in Canadian fiction ("The Plight of Canadian Fiction" [B192]), Grove instead condemns the critics, the public, and the writers. While Callaghan seems to defend the public, Grove accuses them of being "ignorant, cowardly, and snobbish," and he finds fault with Callaghan's suggestion that writers are professionals who should make their living from their writing. Grove feels that true writers should expect to suffer, especially financially, in order to attain "greatness."
C104 Kennedy, Roderick. "Fiction Form Chart: Governor General's Literary Award." Canadian Bookman, Oct.-Nov. 1938, pp. 29-32. A summary of "the merits and chances of the horses in the race" for the Governor-General's literary award for 1937; Kennedy's shortlist includes Callaghan's More Joy in Heaven, Mazo de la Roche's The Very House, Irene Baird's John, Philip Child's God's Sparrows, and Laura Salverson's The Dark Weaver. Callaghan is included on the basis of "past performance"; Kennedy ulnmately plumps for Salverson on the grounds of "Power, Vigor, and Spirit."
C105 Edgar, Pelham. "Literary Criticism in Canada." University of Toronto Quarterly, 8 (July 1939), 423. Rpt. in Across My Path. Ed. Northrop Frye. Toronto: Ryerson, 1952, p. 121. A survey of the state of literary critcism in Canada in 1939; includes one brief reference to "the occasional searching article on current fiction" by Morley Callaghan.
C106 "Play by Morley." The Evening Telegram [Toronto], 21 Dec. 1939, p. 9. A brief item in the "Between You and Me" column which notes that Callaghan's play, "Turn Again Home," is sold to the Theatre Guild in New York. Callaghan is interviewed briefly and discusses the plot of the play and his pleasure at receiving this first staging offer.
C107 "Picked Again." The Telegram [Toronto], 10 June 1940, p. 9. A brief item in the "Between You and Me" column which notes the inclusion of Callaghan's story, "Getting On in the World," in Edward J. O'Brien's annual anthology, The Best Short Stories .... and the completion of his second play, "Just Ask for George." Callaghan's first play, "Turn Again Home," is to be produced in New York in September.
C108 Bates, H. E. The Modern Short Story. London: Thomas Nelson, 1941, pp. 180-81. Bates includes Callaghan in a list of "many other first-rate writers" in Chapter viii, "American Renaissance."
C109 "Callaghan, Morley (1903- )." In Twentteth Century Authors: A Biographical Dictionary of Modern Literature. Ed. Stanley J. Kunitz and Howard Haycroft. New York: Wilson, 1942, p. 239. Rpt. (revised) in First Supp. Ed. Stanley J. Kunitz. 1955, pp. 159-60. A brief biographical note and summary of Callaghan's career up to 1937; includes several errors of fact. They Shall Inherit the Earth is "perhaps his best work to date." The 1955 Supplement notes the publication of The Varsity Story and The Loved and the Lost. Both accounts include a brief list of his principal works.
C110 Lewis, Wyndham. "What Books for Total War?" Saturday Night, 10 Oct. 1942, p. 16. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 55-59. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, p. 254. Lewis suggests that books like Callaghan's Now That April's Here and Other Stortes (1936) are just what is needed during "such fearful times as ours," rather than pep-talks and propaganda. Includes comments on the nature and quality of the stories.
C111 Sandwell, Bernard K. "The Social Function of Fiction." Queen's Quarterly, 49 (Winter 1942), 322-32. In a piece in which he argues that the artist has "a special function in relation to his age and his own community," Sandwell cites Callaghan as "the most interesting example" of the results of Canadian critical neglect, and accuses him of "ambiguity."
C112 Brown, E. K. "The Problem of a Canadian Literature." In his On Canadian Poetry. Toronto: Ryerson, 1943, pp. 5, 11-13, 21. Rpt. (revised) 2nd ed., 1944, pp. 5, 11-13, 22. Rpt. (excerpt-"Canadian Poetry") in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Patterns of Literary Criticism, No. 9. Chicago: Univ. of Chicago Press, 1971, pp. 30, 35-37, 43. Rpt. (expanded, 2nd ed. facsimile) In On Canadian Poetry. By E. K. Brown. Ottawa: Tecumseh, 1973, pp. 5, 11-13, 22. Rpt. in Contexts of Canadian Criticism: A Collectton of Critical Essays. Ed. Eli Mandel. Rev. ed. Brown repeats and expands his arguments here regarding Callaghan (C99): "an alien audience has shaped [his] treatment of Canadian life," and he has refused "the opportunity of drawing the peculiarities of Toronto in full vividness and force?' Brown's account of Callaghan in the second edition, 1944, is unchanged.
C113 "Winning War Not Enough?' Winnipeg Tribune, 24 Feb. 1943, p. II. An article based on a brief interview in Winnipeg on the occasion of the first of a series of CBC radio broadcasts on post-war reconstruction (B408); Callaghan suggests that "the Beveridge report is not a radical document" and warns against "vague men of good will."
C114 Buchanan, Donald W. "The Projection of Canada." University of Toronto Quarterly, 13 (April 1944), 300. Rpt. (abridged) in The National Film Board of Canada: The War Years: A Collection of Contemporary Articles and a Selected Index of Productions. Canadian Film Archives. Canadian Filmography Series, No. 3. Ed. Peter Morris. 1965; rpt. Ottawa: Canadian Film Institute, 1971, pp. 14-15. An article on the early years of the National Film Board which includes a brief mention of Callaghan's collaboration with Irving Jacoby on the film, Hot Ice, and a description of the film. Callaghan is quoted briefly about "the average Canadian writer." The Morris volume also includes an annotation on the film, Hot Ice, in its "National Film Board Films 1939-1945: A Selected Index," page 30.
C115 Koch, Eric. "Callaghan: Lend-Lease from the Bohemians." Saturday Night, 21 Oct. 1944, pp. 16-17. Profile on Callaghan as chairman of the CBC radio program, Of Things to Come, which attempts to defuse charges of his left-wing political bias. He is portrayed as "quite a character," a genuine artist with no particular political convictions, but rather an immense zeal for public discussion. Includes comments about "the book he is writing now" (possibly the unpublished novel, "Thumbs Down on Jullen Jones").
C116 Biographical Note. Senior Scholastic, 14 May 1945, p. 28. In a brief note accompanying the reprint in Senior Scholastic of Callaghan's story "One Spring Night" (B43), the editors quote from a review in The New York Times Book Review of Now That April's Here (see D90) and deny Callaghan's similarity to Hemingway.
C117 Pacey, Desmond. "The Novel in Canada." Queen's Quarterly, 52 (Autumn 1945), 323, 325. Rpt. in Essays in Canadian Criticism 1938-1968. By Desmond Pacey. Toronto: Ryerson, 1969, pp. 23, 24. Brief mention; Callaghan is accused of deserting the craft of writing in mid-career and of "sentimentalism."
C118 Thomas, Clara. "Callaghan, Morley Edward." In her Canadian Novelists, 1920-1945. Toronto: Longmans, Green, 1946, pp. 17-18. Brief biographical note and bibliography. (See C502. for the thesis upon which this book was based.)
C119 Weaver, Robert Leigh. "Notes on Canadian Literature." The Nation, 16 Feb. 1946, p. 198. Brief mention of Callaghan (along with Mazo de la Roche and F. P. Grove) as "exceptions" to the general rule in Canada of "a literature without vitality, power, or perception." Unfortunately, Callaghan "was content to develop characters apparently devoid of will or intellect."
C120 "Canadin Social Novels." Canadian Author & Bookman, 22, No. 3 (Sept. 1946), p. 34. Callaghan's novels, They Shall Inherit the Earth and Such Is My Beloved, are included in a brief survey of Canadian "social novels." The fact that there are not many Canadian novels of this kind is regretted.
C121 Lysenko, Vera. Men in Sheepskin Coats: A Study in Assimilation. Toronto: Ryerson, 1947, p. 293. In a chapter entitled "Assimilation through Achievement of a Balanced Social Order," Lysenko complains that "little or no cognizance has been taken of the fact [in the writings of Canadian novelists and short story writers] that one-quarter of Canada's entire population is of non-Anglo-Saxon, non-French descent .... One exception may be noted: the Ukrainian-Canadian heroine, Anna Prychoda, of Morley Callaghan's novel They Shall Inherit the Earth. Yet Anna Prychoda possesses no distinctively Ukrainian traits; she might as well have been of French, Irish or Icelandic ancestry ...."
C122 Putnam, Samuel. Paris Was Our Mistress: Memoirs of a Lost & Found Generation. New York: Viking, 1947, pp. 130-31. Brief reference to the Hemingway-Callaghan boxing match in a sketch of Hemingway in Chapter v, "From a Latin Quarter Sketchbook." In Putnam's version, Hemingway claims to have "knocked hell" out of Callaghan in revenge for the latter's defeat of him in a tennis match.
C123 "An Unsentimentalist." Saturday Evening Post, 15 March 1947, p. 10. In a brief note introducing his story "Luke Baldwin's Vow" (B89), Callaghan is described as "a writer of the Hemingway-Caldwell-William Faulkner-James Cain school, known for cold detachment and the blunt truth .... " "This note will have the distinction of not calling him 'the Canadian Hemingway.'" Includes a drawing of the author.
C124 H[oehn]., M[atthew]. "Morley Edward Callaghan, 1903- " In Catholic Authors: Contemporary Biographical Sketches, 1930-1947. Ed. Matthew Hoehn. Vol. I. Newark, N.J.: St. Mary's Abbey, 1948, 96-97. Brief biographical sketch; claims that Callaghan "is looked upon as Canada's most promising author."
C125 Pickersgill, Frank. "To Margaret Beattie." In The Pickersgill Letters. Ed. George H. Ford. Toronto: Ryerson, 1948, p. 49. Unflattering reference to Callaghan in a letter dated 14 March 1937. Callaghan is chairman of a meeting at Trinity College and his speech is described; "what a poor timid naive little goof he is!"
C126 "Many Called -- But Few Chosen." Canadian Author & Bookman, 24, No. 2 (June 1948), 34. Three of Callaghan's works, Now That April's Here, Such Is My Beloved, and They Shall Inherit the Earth, are included in "A Roll Call of 350 Outstanding Canadian Books," prepared as a preliminary list for the selection of the hundred best Canadian books for UNESCO.
C127 Brown, E. K., Philip Child, W. A. Deacon, E C. Jennings, Watson Kirkconnell, Lorne Pierce, and W. S. Wallace. "Canadian Classics Chosen for UNESCO." Canadian Library Association Bulletin, Sept. 1948, p. 68. Callaghan's collection of short stories, Now That April's Here, is included in a short-list of one hundred selected titles.
C128 "Purloined Pieces." Canadian Author & Bookman, 24, No. 3 (Sept. 1948), p. 51. A miscellany of literary news items, which includes a brief mention of the forthcoming publication of The Varsity Story. Callaghan is referred to as a "well-known Canadian writer and novelist of the 'Hemingway School.' "
C129 MacTaggart, Ken. "Callaghan Varsity Story Views U.T. Objectively." The Globe and Mail, 22 Sept. 1948, p. 4. Notice of the publication of The Varsity Story; "every store in Greater Toronto will have window displays based on it today."
C130 "Canadian Author at Press to Autograph Novel Today." The Varsity [Univ. of Toronto], 30 Sept. 1948, p. I. Callaghan and Eric Aldwinkle, the illustrator, will autograph copies of The Varsity Story at the University of Toronto Press.
C131 "Callaghan's 'Varsity Story' Will Be Presented on Air." The Varsity [Univ. of Toronto], 19 Oct. 1948, p. I. Callaghan's novel, The Varsity Story, is to be presented in installments on CBC radio, beginning 11 November 1948 (C580).
C132 "'Varsity' Satirical Claims Author Callaghan." The Varsity [Univ. of Toronto], 27 Oct. 1948, p. 1. Report of Callaghan's talk, "Postscript to Letters," delivered "at the first Hart House Library Evening last night."
C133 "Purloined Pieces in Books and Authors." Canadian Author & Bookman, 24, No. 4 (Dec. 1948), 48. A miscellany of literary news items, which includes a brief mention of the publication of Callaghan's juvenile novel, Luke Baldwin's Vow.
C134 "No Opportumty Offered Writer Says Callaghan." The Varsity [Univ. of Toronto], 1 Dec. 1948, pp. 1,4. Report of "last night's Trinity debate," resolved "That this country is capable of supporting a truly Canadian literature." Callaghan debates J.K. Thomas.
C135 Karr, Jack. "Showplace." Toronto Daily Star, 8 Jan. 1949, p. 22. "Scouts from Broadway are expected in town next week" to attend the premiere of Callaghan's play To Tell the Truth.
C136 Brown, E. K. "The Causerie." Winnipeg Free Press, 22 Jan. 1949, p. 17. Rpt. ("Causeries: The Achievement of Morley Callaghan") in Responses and Evaluations: Essays on Canada. By E. K. Brown. Ed. and introd. David Staines. New Canadian Library, No 137. Toronto: McClelland and Stewart, 1977, pp. 307-09. A brief retrospecnve piece on Callaghan occasioned by the publication of The Varsity Story in 1948 and the productin of his play To Tell the Truth, in 1949. Brown lauds Callaghan's "easy style" and his closeness to his characters: "His sentences are as unambitious as a lazy boy on a hot day," and "exactly the right medium . . . for the little man, or little woman, lost in the big city that he cares about..."
C137 "All-Canadian Play to Be First in Royal Alex." The Globe and Mail, 27 Jan. 1949, p. 5. Notice of the move of To Tell the Truth to the Royal Alexandra Theatre. Includes photographs of Callaghan and the cast.
C138 "Callaghan Drama Comes to R. Alex." The Telegram [Toronto], 29 Jan. 1949, p. 31. Announcement of To Tell the Truth's move to the Royal Alexandra Theatre. Includes brief information about the play's history and production details.
C139 "The Novel Approach." Time [Canada], 7 Feb. 1949, p. 33. Notes that Callaghan's new novel, The Varsity Story, was intended to raise money for the University of Toronto and that it "had sold some 5,000 copies in Canada (royalties to Toronto)" by the first week in February.
C140 "Callaghan's Play, 'To Tell the Truth,' Broadway Bound." The Globe and Mail, 14 Feb. 1949, p. 12. New York producer, Cheryl Crawford, buys an option on Callaghan's play. Includes speculation about a U.S. premiere "sometime next fall," with motion picture stars, James Stewart and Margaret Sullivan, in the leading roles.
C141 Magee, Wm. H. "Trends in the Recent English-Canadian Novel." Culture, 10, No. I (March 1949), 34. A survey of recent trends in Canadian subject matter. Callaghan is grouped with American novelists, Theodore Dreiser and Ernest Hemingway, in the "naturalist" branch of Realism. More Joy in Heaven is compared briefly with Dreiser's Jennie Gerhardt.
C142 Johnstone, Ken. "'To Tell the Truth': Canadian Play Gets Toronto Premiere; Sells to New York." Montreal Standard Weekend Magazine, 19 March 1949, pp. 15, 17-19. A brief story about Callaghan's play To Tell the Truth, plus four pages of photographs of the play in production.
C143 Thomas, J. K. "Mr. Callaghan Comes to Town." National Home Monthly, April 1949, pp. 32-35. Feature article in defence of Callaghan's play, To Tell the Truth. The play is a financial success despite the critcs. Callaghan himself is neither a Canadian Hemingway nor a Saroyan. Thomas includes a plot summary, speculates about the play's meaning, and includes photographs of the play in production.
C144 Certner, Simon, and George H. Henry, eds. Short Stories for Our Times. Boston: Houghton Mifflin, 1950, pp. 210, 211-19. A high school anthology including a reprint of "All the Years of Her Life," plus notes for "Before You Read" and "For Class Discussion." The theme of juvenile delinquency is stressed. In a brief note "About the Author," Callaghan explains why he wrote the story.
C145 Perkins, Maxwell. "To Morley Callaghan." In Editor to Author: The Letters of Maxwell E. Perkins. Ed. and introd. John Hall Wheelock. New York: Grosset and Dunlop, 1950, pp. 74-77. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 42-44. Letter dated 16 November 1931; Perkins suggests that there are still too many sordid details in A Broken Journey, which "are not compatible with the glamour of this romance."
C146 Johnstone, Ken. Letter. CUE, 20, No. 4 (March 1950), 15. Johnstone points out that Robertson Davies has ignored the work of both Callaghan and Fridolin in his comments on the Canadian theatre.
C147 "Last but Not Least." Saturday Night, 21 March 1950, p. 2-3. Announcement of the New Play Society production of Callaghan's play Going Home, the fifth and last production in the New Play Society's Canadian series.
C148 "Six Producers Eye Going Home." The Globe and Mail, 25 March 1950, p. 8. "Six Broadway producers are reported [to be] awaiting results of the New Play Society premiere of the Morley Callaghan play, Going Home, now at the Museum Theatre."
C149 "An Air of Purity." Time [Canada], 14 Aug. 1950, p. 32. Report of Callaghan's commission by the Canadian Bank of Commerce to write "a little story which had nothing to do with the bank" for their new advertising campaign. The story in question is "The Bachelor's Dilemma" (B98).
C150 Tranter, G. J. "Cross-Country Chat." Canadian Author & Bookman, 26, No. 3 (Autumn 1950), 19. A miscellany of literary news items which mentions the purchase of a Callaghan story ("The Bachelor's Dilemma"; B98) for advertising purposes by the Canadian Bank of Commerce. The bank plans to buy other stories by other Canadian authors.
C151 Mizener, Arthur. The Far Side of Paradise: A Biography of F. Scott Fitzgerald. Boston: Houghton Mifflin, 1951, pp. 212-13, 2nd ed. 1965, pp. xix, 197, 220, 221, 234-35, 270. The first edition includes a brief account of the infamous Hemingway-Callaghan boxing match, which emphasizes Fitzgerald's role. The second edition is revised in light of new material, including Callaghan's That Summer in Paris (1963), and includes an expanded version of the boxing match. Callaghan is occasionally used as a source.
C152. Phelps, Arthur L. "Morley Callaghan." In Canadian Writers. Toronto: McClelland and Stewart, 1951, pp. 10-18. One of the earliest Canadian academic assessments. Includes a brief outline of Callaghan's career and what is essentially a review of The Loved and the Lost. Phelps recommends the novel tentatively and suggests that "Peggy becomes the symbol of an innocence the world must destroy because it cannot live up to it."
C153 McAlpine, Mary. "Who Is This Guy? Morley Callaghan." Canadian Life, 2, No. I (Spring 1951), 4-5. A profile based on an interview with Callaghan just before the publication of The Loved and the Lost, which emphasizes the recent eclipse of his career. Includes comments by the author about "that year in Paris" in 1929, Hemingway, Sher- wood Anderson, his plays, Canadian critics and poets, and his new novel. Callaghan explains the Orpheus theme. McAlpine speculates that Callaghan enjoys being "a character."
C154 Carroll, Jock. "'I Never Knocked Out Hemingway.'" Weekend Magazine [The Standard] [Montreal], 31 March 1951, pp. 9, 25. A profile based on an interview after the publication of The Loved and the Lost. The author is portrayed as "an honest man." Callaghan points out the Orpheus parallel in his new novel, tells amusing stones of his exploits as a playwright in New York, and denies he ever knocked out Hemingway. Includes biographical information.
C155 Pacey, Desmond. Creative Writing in Canada: A Short Htstory of English-Canadian Literature. Toronto: Ryerson, 1952, pp. 2, 112, 113, 114, 115, 157, 172, 173, 174, 175, 179-84, 189, 190, 193, 197-98, 200. A historical interpretation. In Chapter vii, "Prose Fiction Since 1920," Callaghan is placed firmly in the new school of Realistic fiction written since 1920, as one of the four major exponents alongside such writers as F. P. Grove, Hugh MacLennan, and Philip Child. Pacey evidently prefers Grove: whereas "Grove, for all his limitations, is the most powerful novelist Canada has yet produced," Callaghan is accused of "moral flabbiness." Both writers "see man as the victim of hostile external forces, and the dominant response of each to this tragic situation is compassion. In Callaghan's work, however, it is not so much the universe itself which is blamed for man's misfortunes as an ignorant and falsely motivated society." Pacey includes a brief outline of eight novels and Callaghan's three volumes of short stories, plus longer analyses of three representative works, Strange Fugitive, They Shall Inherit the Earth, and The Loved and the Lost.
C156 "Governor-General's Awards." Canadian Author & Bookman, 28, No. I (Spring 1952), 7-8. A brief announcement of the winners of the Governor-General's Literary Awards for the best books of 1951. Callaghan's The Loved and the Lost wins for fiction. The article includes a photograph of the author and the names of the members of the Judges' Panel.
C157 Photograph. Canadian Author & Bookman, 28, No. 2 (Summer 1952), 14. Photograph (from the London Free Press) of E. J. Pratt and Morley Callaghan chatting at the presentation of the Governor-General's Award for Fiction. The award was presented at the Canadian Authors Association meeting in London, Ontario.
C158 Tranter, G. J. "Cross-Country Chat." Canadian Author & Bookman, 28, No. 3 (Autumn 1952), 24. A miscellany of literary news items which notes the publication of Callaghan's story, "Keep Away From Laura" in Maclean's (B102).
C159 Cranston, J. H. Ink on My Fingers. Toronto: Ryerson, 1953, pp. 138-39. Callaghan is included in Cranston's gallery of Star Weekly [Toronto Daily Star] "stars," and recalls his first article for the paper, printed 6 August 1921 (see B172).
C160 Fenton, Charles A. The Apprenticeship of Ernest Hemingway: The Early Years. New York: Farrar, Straus & Young, 1954, pp. 148, 246-48, 257, 286. Fenton notes that Hemingway and Callaghan discussed Sherwood Anderson's work "extensively" in the fall of 1923 and includes an account of Callaghan's first meeting with Hemingway in Toronto in 1923 and their subsequent friendship. This piece is based on an interview with Callaghan, 19 June 1952. "Callaghan was never a disciple of Hemingway in the patronizing sense .... His talent was wholly different, celtic and imaginative .... "
C161 Tranter, G. J. "Cross-Country Chat." Canadian Author & Bookman, 30, No. 1 (Spring I954), ii. A miscellany of literary news items which notes the publication of Callaghan's story, "Something for Nothing" (B104) in the May issue of the Canadian Home Journal.
C162 "Callaghan Novel Awarded $5,000." Toronto Daily Star, 5 Feb. 1955, p. 17. A one-paragraph announcement of the Maclean's award for "The Man with the Coat."
C163 Hill, O. Mary. "How Factual Is the Novelist's Businessman?". Canadian Business, June 1955, pp. 25, 26, 29. Portraits of businessmen in Canadian novels are generally unflattering and one way to bridge the gap would be to establish an annual award for the best Canadian novel with a business setting. Hill includes a brief mention of Callaghan's Joseph Carver in The Loved and the Lost.
C164 "Callaghan Book, Loved and Lost, Adapted as Play." The Globe and Mail, 19 July 1955, p. 4. Callaghan reports that The Loved and the Lost has been adapted as a Broadway musical by Thomas Chastain and Albert Moritz.
C165 Scott, E R. "The Canadian Writers' Conference." University of Toronto Quarterly, 25 (Oct. 1955), 96, 97, 99. Callaghan's participation in the first Canadian Writers' Conference held at Queen's University on 28-31 July 1955 is briefly noted.
C166 "Book Drive Stirs Tempest in Canada." The New York Times, 16 Nov. 1955, p. 31. Report of the Toronto Catholic Women's League's drive to ban three hundred "objection- able" books. Hemingway and Callaghan comment.
C167 Tranter, G. J. "Cross-Country Chat." Canadian Author & Bookman, 31, No. 4 (Winter 1955-56), 8. A miscellany of literary news items which notes that Callaghan's The Loved and the Lost has been adapted for presentation as a Broadway musical, and that Hollywood has been considering the book for filming.
C168 "Prodigal Who Stayed Home." Saturday Night, 12 May 1956, pp. 21-22. This profile is based on an interview and centres on the theme that no Canadian writer has been as widely accepted abroad and ignored in Canada. Includes biographical details and several errors of fact.
C169 Frye, Northrop. "English Canadian Literature, 1929-1954." Canadian Library Association Bulletin, Dec. 1956, p. III. Includes a brief summary of Callaghan's work: Such Is My Beloved, They Shall Inherit the Earth, and More Joy in Heaven "are head and shoulders above everything contemporary with them in Canadian writing."
C170 Daniells, Roy. "Literature: I, Poetry and the Novel." In The Culture of Contemporary Canada. Ed. Julian Park. Ithaca, N.Y.: Cornell Univ. Press, 1957, pp. 34-36, 44-45. Includes comments about Callaghan both as a novelist and short story writer, and suggests that in the latter genre he is an unrecognized Maupassant. Daniells also speculates briefly about the debt Callaghan owes to Catholicism.
C171 Ross, Malcolm. Introducton. In Such Is My Beloved. New Canadian Library, No. 2. Toronto: McClelland and Stewart, 1957, pp. v-xiii. Ross provides a detailed analysis of "the traditional symbolism of Catholic art" as it is reflected in the novel. Callaghan's ironic vision is embodied in "a threefold (yet unitary) set of symbols: the mystical body; the bridal body; [and] the sacramental, sacrificial body." According to this reading, Father Dowling's madness is not "a rejection of the intellectual life as irrelevant (or even dangerous) to salvation," but rather a symbol of love's restoration "in the extremity of sacrifice."
C172 "The Theatre Fascinates Mr. Callaghan." The Globe and Mail, 13 July 1957, p. 17. Callaghan will read three of his own short stories on CBC Wednesday Night (see B419-B421).
C173 McPherson, Hugo. "The Two Worlds of Morley Callaghan -- Man's Earthly Quest." Queen's Quarterly, 64 (Autumn 1957), 350-65. Rpt. in Canadian Anthology. Ed. Carl E. Klinck and Reginald E. Watters. 2nd ed. Toronto: Gage, 1966, pp. 507-15. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 60-73. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, p. 254. Rpt. (expanded excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Work of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. xiv. Detroit: Gale, 1980, 99-103. An influential article, and standard religious interpretation of Callaghan's work: the author is not primarily a stylist, but a religious writer "who looked searchingly at his experience (including the potent -isms and -ologies of the day) and concluded that the temporal world cannot be self-redeemed; that human frailty is bearable only in the light of divine perfection." Accordingly, his novels ought to be judged by how successfully "the surface events function simultaneously as realistic action and symbolic action, revealing both the empirical and spiritual conflicts of his protagonists." In McPherson's opinion, More Joy in Heaven and The Loved and the Lost are "good novels by any standard," and Callaghan's most successful to date.
C174 "Vision's Newsreel of the Month." Vision, Dec.-Jan. 1957-58, p. 21. Includes a brief description under the subheading, "Films," of the first day's shooting of the Klenman-Davidson film, Now That April's Here (C583). Also includes information about the film's financial backing and production costs.
C175 Bissell, C. T. "The Novel." In The Arts in Canada. Ed. Malcolm Ross. Toronto: Macmillan, 1958, pp. 92, 93, 94. A sober survey of "the contemporary Canadian novel," which traces its roots to "the works of two men, Frederick Philip Grove and Morley Callaghan" in the twenties. Callaghan's development, in particular, exemplifies "the strongest tradition in the modern Canadian novel," that of "contemplanve realism": his "novels of the thirties ... are no longer flat studies in social injustices but are warm allegories that illuminate the contrast between the judgments of a materialistic and insensitive society and the judgments of a moral society."
C176 "'Now That April's Here.'" Vision, Feb. 1958, pp. 19-20. Producer-directors, Norman Klenman and William Davidson, are interviewed after the shooting of their 9o-minute feature film, Now That April's Here (C583), based on four of Callaghan's stories. They predict great things for their crew and cast and praise Callaghan; he is compared with Paddy Chayefsky.
C177 "Vision's Newsreel of the Month." Vision, April 1958, p. 21. Includes a brief announcement under the sub-heading, "Films," that the world premiere of the Klenman-Davidson film, Now That April's Here (C583), "is slated for the Towne Cinema in Toronto this summer." Also includes information about the film's distribution.
C178 Brown, Bill. "A New Movie Breaks the Rules." Weekend Magazine [The Citizen] [Ottawa], 26 April 1958, pp. 50, 53, 55. A background story about Now That April's Here (C583) which includes comments by Callaghan, Norman Klenman, and Bill Davidson, plus photographs of the cast in production.
C179 "Vision's Newsreel of the Month." Vision, May 1958, p. 3. Includes a brief announcement under the sub-heading, "Films," that 19 June will be the premiere of the film, Now That April's Here (C583). Includes a photograph of four of the "bright new stars": Don Borisenko, Judy Welch, Tony Grey, and Nancy Lou Gill.
C180 Mowat, Farley. "Get Tough." Maclean's, 7 June 1958, pp. 15, 59, 60, 62. A rebuttal to Callaghan's "Let's Go Easy on the U.S.A." (B321) in the same issue. Whereas Callaghan views anti-Americanism as an irrational "disease," Mowat feels that Canadians are reticent about becoming angry about the fact "that we are being engulfed by a foreign power." Canada is not a neighbour, but a "frontier" of the United States, and contrary to what Callaghan states, Mowat feels that Canada's financial relationship with them is not mutually beneficial.
C181 Dempsey, Lotta. "Premiere Party for Callaghan." The Globe and Mail, 12. June 1958, p. 14. Account of a party thrown by the J. K. Thomases to mark "the coming world premiere" of Now That April's Here (C583). Callaghan comments on his revision of "The Man with the Coat" and his proposed anthology for Macmillan. Includes several errors of fact.
C182 Watters, Reginald Eyre. "Callaghan, Morley Edward, 1903- ." In his A Check List of Canadian Literature and Background Materials 1628-1950. Toronto: Univ. of Toronto Press, 1959, p. 186. Rpt. in A Check List of Canadian Literature and Background Materials 1628-1960, 2nd ed. Toronto: Univ. of Toronto Press, 1972, pp. 255-56. The first edition lists Callaghan's novels and collections of short stories alphabetically up to and including The Loved and the Lost (1951), with the exception of the privately printed novella, No Man's Meat (1931). The second edition corrects the oversight and updates the listings to 1960. Both editions include library locations.
C183 "Footnotes: Callaghan Stories Top Event." Toronto Daily Star, 22 Aug. 1959, p. 30. The publication of Callaghan's collected short stories will be "the first major event of the fall fiction season." The article also contends that Callaghan's reputation has recently been in eclipse.
C184 Watt, E W. "Morley Callaghan as Thinker." The Dalhousie Review, 39 (Autumn 1959), 305-13. Rpt. in Masks of Fiction: Canadian Critics on Canadian Prose. New Canadian Library Original, No. O2. Ed. and introd. A. J. M. Smith. Toronto: McClelland and Stewart, 1961, pp. 116-27. A sociological approach to the novels which analyses them in terms of the "leading ideas of the 'twenties, 'thirties, and 'forties," and downplays the importance of style. Watt discerns a "central dialectlc" running throughout the work between the claims of Naturalism, radicalism, and Catholicism, a dialectic giving way by the time of They Shall Inherit the Earth (1935) to synthesis: to "a fourth position which carries with it vestiges of the other three, but which is different from any one of them -- a kind of new individualism, or . . . 'personalism.'" While there is no original philosophical thinking, Watt suggests that a "good deal of Callaghan's strength arises from his endeavour to carry out, over a period of two decades, a serious artistic exploration of human experience that makes use of the intellectual tools and weapons of the time." (See C508 for the dissertation from which this article derives.)
C185 Weaver, Robert. "Stones by Callaghan." Canadian Literature, No. 2 (Autumn 1959), pp. 67-70. Rpt. (revised) in The Canadian Reader, Sept. 1960, pp. 2-4. In this review article Weaver stresses the excellence of the short stories and emphasizes their contemporary appeal. Callaghan's characters are 'marginal people," city dwellers who are "uneasy, alien, not really settled in to [sic] the city, and vulnerable."
C186 Tumpane, Frank. "The Tumpane Principle: Never Give Marcus Long an Even Break." The Telegram [Toronto], 24 Oct. 1959, p. 33. Tumpane takes issue with Dr. Marcus Long's review of Morley Callaghan's Stories, The Telegram [Toronto], 10 October 1959, page 10. He disputes, in particular, Long's disappointment at the beginnings and endings of the stories and suggests that inevitability is one of their greatest strengths.
C187 Fulford, Robert. "New Audience for Callaghan." Toronto Daily Star, 12 Nov. 1959, p. 28. Fulford recounts the "surprising" publishing history of The Loved and the Lost and suggests that Callaghan "has had the satisfaction of finding an audience in the cigar stores for a novel that was almost ignored in the bookstores."
C188 de la Roche, Mazo. Introduction. In Northern Lights: A New Collectlon of Distinguished Writing by Canadian Authors. Ed. George E. Nelson. Garden City, N.Y.: Doubleday, 1960, p. 8. Although the anthology contains no story by Callaghan, de la Roche mentions him favourably in her Introduction: "No other short story by a Canadian has made a deeper impression on me than 'The [sic] Sick Call' by Morley Callaghan."
C189 McPherson, Hugo. Introduction. In More Joy in Heaven. New Canadian Library, No. 17. Toronto: McClelland and Stewart, 1960, pp. v-x. The Introduction sets out the real-life facts about the notorious gunman and bankrobber, Red Ryan, upon whose life the novel is loosely based. McPherson suggests the story of Kip Caley is no mere biography, however, but "a disquieting and ironic parable" that probes "beneath the surface of ... events. . ., to universal questions of morality and faith, innocence and guilt." McPherson praises the novel's "smooth-flowing narrative technique" and "realistic surface," and discusses the significance of its title and the recurrent image of life as a cage.
C190 Schneider, Elisabeth W., Albert L. Walker, and Herbert E. Chllds, eds. The Range of Literature: An Introductton to Prose and Verse. New York: American Book, 1960, pp. 12-22., 24-26, 33. A college-level anthology and textbook which includes a reprint of Callaghan's "A Sick Call" plus critical commentary. The story is used as an example of "difficult" reading and is compared with William Faulkner's "Two Soldiers." Mention is made of the wide variety of written responses elicited by it in a campus poll.
C191 Scott, E R. [sic; Malcolm Ross]. "Lorne Pierce Medal: Morley Callaghan." Proceedings and Transactions of the Royal Society of Canada, Ser. 3, 54 (1960), 56-57. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw Hill Ryerson, 1975, p. 78. Citation on the author's receipt of the Lorne Pierce Medal. Ross suggests "Callaghan broke open for us the egg-shell of our cultural colonialism." (Scott read the citation at the Royal Society in Ross's absence.)
C192 Hogan, William. "What Happened to Morley Callaghan?". San Francisco Chronicle, 19 Aug. 1960, p. 29. Book column devoted to Callaghan just before publication of The Many Colored Coat. Includes comments by Callaghan (the result of a longdistance interview) on his career and early association with Hemingway. He insists he was productive, "if underground," during the 1950s.
C193 Fulford, Robert. "Campaign for Callaghan." Toronto Daily Star, 22 Aug. 1960, p. 18. An account of the New York publisher Coward-McCann's campaign to revive the American reputation of Callaghan with the publication of The Many Colored Coat. Includes enthusiastic comment on the novel by Erskine Caldwell and Alfred Kazin.
C194 Dempsey, Lotta. "Morley Callaghan Celebrity of Day." Toronto Daily Star, 25 Aug. 1960, p. 20. An account of "a lush cocktail party" thrown by Callaghan's publisher, Coward-McCann, in New York "to celebrate their launching of the find of the season -- Callaghan's latest novel, 'The Many Colored Coat.' " Callaghan is named "Celebrity of the Day" by Celebrities Services International, and Dempsey portrays him as humble and self-effacing, somewhat bemused by the celebrity trail. Includes several errors of fact.
C195 Tumpane, Frank. "The Author as Craftsman: He Carves 'Iceberg' Books." The Telegram [Toronto], 17 Sept. 1960, p. 12. Profile on Callaghan upon publication of The Many Colored Coat. Includes comments by the author on writing and his career.
C196 Bryant, George. "Smug Toronto Shuns 'Brilliant' Morley Callaghan." Toronto Daily Star, 23 Nov. 1960, p. 7. "America's foremost literary critic [Edmund Wilson (CI99)] says in a lead review written for the New Yorker magazine today that Toronto writer Morley Callaghan -- whom he compares with Chekhov and Turgenev -- is unappreciated in the cultural isolation of Toronto."
C197 Einfrank, Aaron E. "'Nobody Believes a Writer This Good Could Live in Toronto' . . . So Says Edmund Wilson." The Telegram [Toronto], 23 Nov. 1960, p. 7. A report of the "laudatory article [on Callaghan] in this week's New Yorker magazine by the eminent critic and novelist, Edmund Wilson" (C199).
C198 Kossar, Leon. "'Me? I'm Delighted!'". The Telegram [Toronto], 23 Nov. 1960, p. 7. Callaghan is interviewed in the wake of the Edmund Wilson article (C199) and strives to make it clear that "he has no quarrel with Canada" and is not "a guy living in an attic."
C199 Wilson, Edmund. "Morley Callaghan of Toronto." The New Yorker, 26 Nov. 1960, pp. 224, 226, 228, 230, 233-34, 236-37. Rpt. (revised) in O Canada: An American's Notes on Canadian Culture. By Edmund Wilson. New York: Farrar, Straus and Giroux, 1964, pp. 9-31. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Wrtters. Ed. Carolyn Riley. Vol. III. Detroit: Gale, 1975, 97. Rpt. (expanded) in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 106-19. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, pp. 255-56. The review article which created such a stir (see C196-C198, C200-C202, C207, C209, C218, C379, C468, C474, C475 C491, C568, C576, C579, D57, D97, and D105). Callaghan is called "perhaps the most unjustly neglected novelist in the English-speaking world." Includes a brief summary of his career, speculations about the reasons for the "current indifference" to his work, and an analysis of Such Is My Beloved, The Loved and the Lost, and The Many Colored Coat. Among other things, Wilson observes that Callaghan's works "may be mentioned without absurdity in association with Chekhov's and Turgenev's," and that "the central element in them, the spirit that pervades the whole, is deeply if undogmatically Christian."
C200 "Literary Exile in Our Midst." Editorial. Toronto Daily Star, 29 Nov. 1960, p. 6. Written in the wake of the Edmund Wilson article (C199), the editorial chides Canadians for their indifference to Callaghan: "Too many of us fail to recognize a native artistic achievement when it stares us in the face."
C201 Moon, Barbara. "The Second Coming of Morley Callaghan." Maclean's, 3 Dec. 196o, pp. 19, 62-64. A profile on Callaghan in the wake of Edmund Wilson's laudatory article (C199). Includes an account of Wilson's discovery of The Loved and the Lost and his reading of The Many Colored Coat, plus speculation about "a vogue-in-the-making" for Callaghan. The author, at fifty-seven, is portrayed as "a lonely, stubborn, outspoken, cranky, charming, wistful, pot-bellied boyo." Includes a couple of errors: Callaghan had actually written only one more play by December 1960.
C202 Callwood, June. "The Many-Colored Career of Morley Callaghan." Star Weekly Magazine [Toronto Daily Star], 17 Dec. 1960, pp. 16-19. Profile written in the wake of Edmund Wilson's laudatory article (C199) and the publication of The Many Colored Coat. Emphasizes the author's use of real-life incident in his work, his radio and television contributions, and the fallow period in his career. Includes comments by Callaghan on the symbolism attached to the flute, the "natural-born arrogance" he inherited from his family, and an admission of failure.
C203 Schorer, Mark. Sinclair Lewis: An American Life. New York: McGraw-Hill, 1961, pp. 512, 545. Schorer quotes from a letter written by Lewis to his nephew, dated January 1929, in which Lewis praises the work of Callaghan, Josephine Herbst, John Hermann, and Ernest Hemingway. Callaghan is singled out for the "authentic power" and vividness of his prose. Schorer also notes Callaghan's letter of congratulation on Lewis' receipt of the Nobel prize.
C204 Watt, F. W. "The Literature of Canada." In The Commonwealth Pen: An Introduction to the Literature of the British Commonwealth. Ed. A. L. McLeod. Ithaca, N.Y.: Cornell Univ. Press, 1961, pp. 29-30. A brief treatment of Callaghan in a historical survey of Canadian literature. He is lumped together with Mazo de la Roche as a "between-wars" novelist, and his "nine novels and three collections of short stories [are said to] make the urban world of Montreal and Toronto articulate as never before in Canadian literature." Watt also suggests Callaghan's works are comparable to those of Roger Lemelin and Gabrielle Roy.
C205 Wilson, Milton. "Literature in English." In Canadian Annual Review for 1960. Ed. John T. Saywell. Toronto: Univ. of Toronto Press, 1961, pp. 311, 313-14. Wilson notes the "critical revaluations and journalistic backward glances" apparently stimulated by the publication of The Many Colored Coat and gives his own interpretation of the "shape" and "meaning" of Callaghan's career. In his review of the novel, Wilson suggests that The Many Coloured Coat "is not as powerful or as subtle. . .as either The Loved and the Lost (1951) or More Joy in Heaven (1936) [sic], although, for the first half anyway, it is an extremely skilful example of Mr. Callaghan's technique."
C206 McCormack, Robert. "Letter from Toronto." Canadian Literature, No. 7 (Winter 1961), pp. 54-55. In the course of his comments on the current literary scene in Toronto, McCormack mentions the "rediscovery" of Morley Callaghan; he compares the relative lack of popularity of Callaghan's books, ironically, with the runaway best-seller success of Phyllis Brett Young's The Torontonians.
C207 McPherson, Hugo. "A Tale Retold." Canadian Literature, No. 7 (Winter 1961), pp. 59-61. A review article. McPherson notes that The Many Colored Coat is a "retelling" of the magazine story (B106) and suggests that it "marks a major turning point in Callaghan's exploration of experience": in it he asks "the final question" about innocence to which his whole career heretofore had been leading, "Is innocence a form of pride?" McPherson agrees with Edmund Wilson's estimate of the subtlety of Callaghan's vision (C199) but questions the author's style.
C208 Beatty, Jr., Jerome. "Trade Winds." Saturday Review, 21 Jan. 1961, pp. 14, 16, 18. Includes an account by editor-in-chief, John Geoghegan, of the difficulties encountered by Coward-McCann in promoting Callaghan's novel, The Many Colored Coat.
C209 Fulford, Robert. "The Literary Life." Toronto Daily Star, 24 Jan. 1961, p. 20. Despite Edmund Wilson's article (C199), The Many Colored Coat "has sold few copies in the United States."
C210 Fulford, Robert. "The Literary Life." Toronto Daily Star, 20 July 1961, p. 2-4. "Morley Callaghan's American publisher, Coward-McCann, has announced to the book trade a major national advertising campaign for 'A Passion in Rome.'"
C211 "Perspective: Morley Callaghan." Toronto Daily Star, 21 Oct. 1961, p. 25. A brief, retrospective piece, occasioned by the publication of A Passion in Rome. Includes a line drawing of the author.
C212 Cheyer, A. H. "WLB Biography: Morley Callaghan." Wilson Library Bulletin, Nov. 1961, p. 265. Brief biographical article; includes comments by the author.
C213 Phillips, Nancy. "Incredible Conflict among Critics." The Telegram [Toronto], 7 Dec. 1961, p. 33. An article (based on an interview with Callaghan) about conflicting reviews of A Passion in Rome. Callaghan explains that "objective criticism is rare," complains of "shabby" treatment by Tony Emory (D60), Arnold Edinborough, and Kildare Dobbs, and claims that the novel is selling "better than any book [he's] done."
C214 Turnbull, Andrew. Scott Fitzgerald. New York: Scribners, 1962, pp. 187, 190-91, 244. Includes a brief account of the Hemingway-Callaghan boxing match and a reference to Callaghan's praise of Fitzgerald's Tender Is the Night.
C215 Watt, E. W. Introduction. In They Shall Inherit the Earth. New Canadian Library, No. 33. Toronto: McClelland and Stewart, 1962, pp. v-x. Watt includes a detailed analysis of They Shall Inherit the Earth, and general observations about the author's work. Callaghan possesses "moral" capacities in abundance and "one can easily trace many of the dominant social and intellectual contours of our age through his work .... What weaknesses there are . . . are almost always technical." Michael Aikenhead's search for justice in the novel has "three aspects: the social or political, the personal or religious, and the natural; and three main settings are used to develop it .... "
C216 Hale, Barne. "Monster Characters." Rev. of Ten for Wednesday Night, ed. Robert Weaver. Canadian Literature, No. II (Winter 1962), pp. 58-60. Callaghan's contribution, "The Doctor's Son," is "perhaps the most disappointing story" in the collection. Most of the stories, including Callaghan's, feature a "preternatural protagomst."
C217 West, Paul. "Canadian Fiction and Its Critics." Rev. of Masks of Fiction: Canadian Critics on Canadian Prose, ed. A. J. M. Smith. The Canadian Forum, March 1962, pp. 265-66. In a review of the above critical collection, West uses the example of the Morley Callaghan/ Tony Emory television contretemps to illustrate his argument that Canadian critics over-stress content at the expense of style. He suggests that Callaghan responded out of all proportion to Emory's facetiousness (D60) because Canadian novelists are not used to having their style assessed. F. W. Watt's essay on Callaghan, "Morley Callaghan as Thinker," for example (C184), completely ignores the author's style.
C218 Woodcock, George. "The Callaghan Case." Canadian Literature, No. 12 (Spring 1962), pp. 60-64. In this review article, Woodcock condemns both "the false fame created by Edmund Wilson's indiscretion [C199] and the reaction that followed so inevitably," and goes on to condemn A Passion in Rome. Although the novel is "a departure from an established pattern," the book is "clumsy, prolix and dull." It confirms "what I have always suspected; that Callaghan's is a gift best used in portraying those moments of revelation which result in good short stories .... "
C219 Hunter, A. M. "The World of Books." The Spectator [Hamilton, Ont.], 21 April 1962, p. 50. Profile based on an interview, which claims that Callaghan is "a very interesting man." Includes comments by the author on "the lost generation" (they weren't "lost"), the critical reception of his recent books, and the forthcoming publication of That Summer in Paris.
C220 Moritsugu, Frank. "Callaghan's Reminiscences Literary Guild Choice." Toronto Daily Star, 24 Nov. 1962, p. 29. A brief announcement: That Summer in Paris "will be the Literary Guild's alternate selection for January."
C221 Fitzgerald, F. Scott. The Letters of F. Scott Fztzgerald. Ed. Andrew Turnbull. New York: Scribners, 1963, pp. 217, 221, 226-27, 229-30, 280, 394-95. Rpt. (excerpt--Letter to Harold Ober) in As Ever, Scott Fitz--: Letters Between F. Scott Fitzgerald and His Literary Agent Harold Ober 1919-1940. By F. Scott Fitzgerald. Ed. Matthew J. Bruccoh. With the Assistance of Jennifer McCabe Atkinson. Forword Scottie Fitzgerald Smith. Philadelphia: Lippincott, 1972, p. 168. Letters by Fitzgerald, mainly to Max Perkins in the early thirties, containing passing, and often unkind, references to Callaghan. In the reprinted letter, Fitzgerald refers to Callaghan and other writers "who think they can trick the world with the hurried and the second rate." The letter was received by Harold Ober on 13 May 1930.
C222 Coleman, Jim. "The Giants Are Dead but Callaghan Lives On." Winnipeg Tribune, 21 Jan. 1963, p. 5. A profile written by a sports columnist just after the publication of That Summer in Paris. Coleman speculates about Callaghan's "second career" and testifies: "he is one of the warmest and kindest of men, without any pretensions, literary or social."
C223 Dempsey, Lotta. "Portrait of Loretto." Toronto Daily Star, 23 Jan. 1963, p. 45. In her account of the literary party, held by John Gray of Macmillan's, to celebrate the publication of That Summer in Paris, Dempsey suggests that "one of the most steadfastly important characters" in that work (and in Callaghan's life) was his wife, Loretto.
C224 Hemingway, Mary. Letter. The New Yorker, 16 March 1963, pp. 160-62. Mary Hemingway disputes Edmund Wilson's assessment of her husband's life and personality in his review of Callaghan's That Summer in Parts (D109) and rises to the latter's defence: "I cannot find anywhere in Mr. Callaghan's book the assertion that he resented those two [Fiemingway and Fitzgerald] extremely, for any reason."
C225 Weaver, Robert. "A Golden Year." Canadian Literature, No. 16 (Spring 1963), pp. 55-57. In this review article, Weaver says that That Summer in Paris "is a reminiscence notable for its quiet tone, its modesty, its essential sweetness. It will astonish those who thought that Mr. Callaghan was merely the Irish terrier of Canadian radio and television." Weaver goes on to suggest that Callaghan "owes us another memoir about the bright days and the dark days of his stubborn, solitary and faithful literary career .... "
C226 McDougall, Robert L. "The Dodo and the Cruising Auk: Class in Canadian Literature." Canadian Ltterature, No. 18 (Autumn 1963), pp. II, 13-i4, 17. Rpt. in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Patterns of Literary Criticism, No. 9. Chicago: Univ. of Chicago Press, 1971, pp. 221, 224-25, 228. Rpt. Rev. ed. Toronto: Univ. of Toronto Press, 1971, pp. 221, 224-25, 228. In an important article bemoaning "the fact that class is not a central issue in any significant part of our fiction," McDougall sees Morley Callaghan as an example of a novelist "who is on the surface . . . preeminently concerned with the social structure in Canada," but who "on closer examination turns out to be a novelist preeminently concerned with personal values and 'inscape.'" McDougall goes on to analyse briefly the wolf scene in They Shall Inhertt the Earth and to note Callaghan's "academic" credentials.
C227 Stevenson, Lionel. "Canadian Fiction Then and Now." Canadian Author & Bookman, 39, No. I (Autumn 1963), 12, 24. Stevenson distinguishes between "the half-dozen prolific and best-selling novelists" of the 1920s, "the seniors," and "the moderns," who produce fewer and less popular books. Stevenson includes Callaghan among the moderns. He goes on to speculate about the reasons for the decline of an internauonal reputation for Canadian books and suggests that Callaghan (and others) are "recognizably indebted to alien models."
C228 Sullivan, Frank. "Greetings, Friends!". Letter. The New Yorker, 21 Dec. 1963, p. 30. Callaghan is included in the long list of famous people and organizations to whom Sullivan sends poetical Yuletide greetings.
C229 "Morley Callaghan (1903- )." In Ecrivains Canadiens/Canadian Writers: A Biographical Dictionary. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Toronto: Ryerson, 1964, pp. 16-18. Rpt. in Canadian Writers/Ecrivains Canadiens: A Biographical Dictionary. Rev. and enl. ed. Toronto: Ryerson, 1966, pp. 19-21. A summary of the facts about Callaghan's life and career, and all the works up to and including That Summer in Paris. He is described as "certainly one of Canada's few world authors." Includes a brief bibliography, which is updated in the 1966 edition.
C230 Penner, Philip, and John McGechaen, eds. Canadian Reflections: An Anthology of Canadian Prose. Toronto: Macmillan, 1964, pp. 3-9, 304, 311. A high school anthology of Canadian literature, which includes a reprint of "All the Years of Her Life," assignments and questions based on the story, and a brief biographical sketch of the author.
C231 Rowe, David. "The Serial." CBC Times, 28 March-3 April 1964, pp. 12.-13. Background information about The Serial, CBC'S television series of dramatized novels and long stories. Includes details about "More Joy in Heaven" (C586), the adaptation of Callaghan's novel, starring John Vernon.
C232 Richler, Mordecai. "Canadiana: One Man's View?' Holiday, April 1964, p. 47. In a special issue devoted to Canada, Richler surveys recent changes in Canadian culture from an expatriate's point of view and concludes his piece with some flattering comments about Callaghan. He claims that "distinctively Canadian writing begins with Callaghan," and that the author's short stories are "the best work to have come out of a cold country." Richler also applauds Callaghan's view that Canadians are North American by tradition and culture.
C233 Bratthwaite, Dennis. "Crime in 5 Parts." The Globe and Mail, 16 April 1964, p. 27. Background information and publicity for "More Joy in Heaven" (C586), the "latest and most ambitious entry" in the CBC drama series, The Serial. The story is adapted from Callaghan's novel of the same title and features a Canadian cast and locales.
C234 Rimanelli, Giose. "Canadian Literature: An Italian View." Canadian Literature, No. 21 (Summer 1964), pp. 14, 17, 20. Callaghan's work is cited briefly by Rimanelli in his defence of the autonomy of Canadian literature. Callaghan's works exemplify, at once, American influences and a distinctively Canadian note.
C235 Woodcock, George. "Lost Eurydice: The Novels of Callaghan." Canadian Literature, No. 21 (Summer 1964), pp. 21-35. Rpt. in A Choice of Critics: Selections from Canadian Literature. Ed. and introd. George Woodcock. Toronto: Oxford Univ. Press, 1966, pp. 185-202. Rpt. in Canadian Writing Today. Ed. Mordecai Richler. Harmondsworth, Eng.: Penguin, 1970, pp. 154-71 Rpt. in Odysseus Ever Returning: Essays on Canadian Writers and Writing. Ed. George Woodcock. Introd. W. H. New. New Canadian Library, No. 71 Toronto: McClelland and Stewart, 1970, pp. 24-39. Rpt. in The Canadian Novel in the Twentieth Century: Essays from Canadian Literature. New Canadian Library, No. 115. Ed. and introd. George Woodcock. Toronto: McClelland and Stewart, 1975, pp. 72-86. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 88-103. Rpt. in A George Woodcock Reader. Ed. and introd. Doug Fetherling. N.p.: Deneau and Greenberg, 1980, pp. 183-97. Perhaps the single most influentil article on Callaghan; certainly the most often reprinted. Woodcock discovers the key to the author's writing in the statements of his literary principles scattered throughout That Summer in Paris: "The aim of stripping the language, of seeing things as they are and using writing to make statements about them is as much a moral as an aesthetic aim." Callaghan thus belongs in the company of "moralist writers" such as Bunyan, Swift, Orwell, and Gide; and "every one of his works fails or succeeds according to the success with which he manipulates the element of parable within it." In this view, the three novels of his middle period (1934-37) "represent Callaghan's best work outside some of his short stories, and one of the real achievements in Canadian writing." Includes analysis of all the novels up to and including A Passion In Rome.
C236 Hagopian, John V. "Morley Callaghan." In Instght II: Analyses of Modern British Literature. Ed. John V. Hagopaan and Martin Dolch. Frankfurt am Main: Hirschgraben-Verlag, 1965, pp. 28-33. A college-level text designed to encourage and improve the study of British literature in German schools. Includes a biographical sketch of the author, a plot summary, and critical analysis of Callaghan's story, "A Sick Call," plus suggested questions and answers for class dlscussion.
C237 McKay, Marjorie. History of the National Film Board of Canada. N.p.: n.p. [c. 1965], p. 28. Chapter iii briefly mentions Callaghan's collaboration with Irving Jacoby on the film, Hot Ice. The documentary is said to have become "not only an award-winning film, but one of the most durable ever produced. Twenty years later it was still running."
C238 McPherson, Hugo. "Fiction 1940-1960." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 702-04, 721-22. 2nd ed., 1976. Vol II, 214, 215, 221. Two of Callaghan's novels, The Loved and the Lost (1951) and The Many Colored Coat (1960), are treated briefly in McPherson's summary of the period. He also comments on Callaghan's "calculated flatness" and compares his stories to those of Ethel Wilson. McPherson regards Callaghan as "fundamentally a religious novelist."
C239 Pacey, Desmond. "Fiction 1920-1940." In Literary History of Canada: Canadian Literature in English. Gen. ed. and Introd. Carl E Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 675, 688-93. 2nd ed. i976. Vol. II, 185, 199-204. In his historical overview of the period, Pacey suggests that Callaghan represents "the urban counterpart" to Grove's "rural realism" and provides a summary of his development from "a fairly straightforward realist or naturalist" to "a more complex and symbolic way of writing." Among the significant influences on his writing, Pacey includes Ernest Hemingway, Sherwood Anderson, and Jacques Maritain, the French-Catholic philosopher. The latter is the decisive influence: from Maritain, Pacey claims, Callaghan derives "the philosophy of Christian humanism or personalism which dominates his later fiction."
C240 Rhodenizer, Vernon Blair. Canadian Literature in Enghsh. Montreal: Quality, 1965, p. 81, 425, 782, 1045. The main entry includes biographical information and a list of Callaghan's works up to and including A Passion in Rome (1961), plus a miscellaneous selection of early critical articles about the author's work. Rhodenizer also notes Callaghan's Preface to Donald William Buchanan's This Is Canada (B245), his juvenile novel, Luke Baldwin's Vow, and the Introduction by Malcolm Ross to Such Is My Beloved (C171).
C241 Cherry, Zena. "Morley Callaghan Gets Honorary Degree." The Globe and Mail, 10 June 1965, p. W4. Callaghan is awarded an honorary degree (D. Litt.) from the University of Western Ontario. Includes a brief report and profile.
C242 Pacey, Desmond. "The Canadian Imagination." The Literary Review, 8, No. 4 (Summer 1965), 44I, 443. Rpt. in Essays in Canadian Criticism 1938-1968. By Desmond Pacey. Toronto: Ryerson, 1969, pp. 237, 240. Callaghan's "scene with the wolves" in They Shall Inherit the Earth is cited briefly as an example of a typical Canadian response to landscape. He is also mentioned as one of "the chief Canadian novelists" (along with Grove, MacLennan, and Wilson) to share "the basic conviction that Canadian life could be written about without apology or condescension."
C243 Bagnall, Kenneth. "Callaghan." United Church Observer, 15 Nov. 1965, pp. 12-14, 40. An interesting profile based on an interview, which suggests that Callaghan is an unjustly neglected religious writer who celebrates "the will to live and go on." Bagnall includes defensive comments by the author about his own work, his decision to live in Toronto, and sex in literature. Callaghan is portrayed as "charming and cranky, humble and haughty. . ., a genuinely humane and likeable man." Mention is made of the author's current project, the novel "Thumbs Down on Julian (sic) Jones."
C244 Orel, L. "posleslovie." In Podvenechnoe Plat'e. Ed. I. Grachev. Trans. G. Stetsenko. Moscow: Progress, 1966, pp. 103-10. The Afterword to a Russian translation of twelve of Callaghan's stories (A17), which stresses the unflattering portrait of bourgeois capitalist society to be found in his work, the Russian influences evident in his writing, and the struggle of a nascent Canadian literary culture to free itself from colonial and American domination. Includes a brief biographical note, discussion of Callaghan's subject matter and style, and a brief history of Canadian literature.
C245 Rimanelli, Giose. Introduction. In Modern Canadian Stories. Ed. Giose Rimanelli and Roberto Ruberto. Toronto: Ryerson, 1966, pp. xxi-xxii. In his defence of the autonomy, quality, and originality of Canadian literature, the Italian scholar links Callaghan with MacLennan as "perhaps. . .the true fathers of Canadian literature, in the year 2000." He evidently thinks more highly of Callaghan than MacLennan.
C246 Watt, E. W. "Nationalism in Canadian Literature." In Nationalism in Canada. Ed. Peter Russell. The University League for Social Reform. Toronto: McGraw-Hill, 1966, p. 247. Brief mention of Callaghan; the "Canadian type" can be seen not only in the author's "helpless, confused, victimized" characters, but also in Callaghan himself.
C247 Watters, Reginald Eyre, and Inglis Freeman Bell. On Canadian Literature 1806-1960: A Check List of Articles, Books, and Theses on English-Canadian Literature, Its Authors, and Language. Toronto: Univ. of Toronto Press, 1966, pp. 9, 21, 34, 46, 63, 66, 78-79. Lists articles both by and about Callaghan up to 1960, exclusive of items in standard reference works. The record of Callaghan's own articles relevant to Canadian literary studies is incomplete.
C248 Fulford, Robert. "The Day Morley Callaghan Came Home." Toronto Daily Star, 4 June 1966, p. 31. Callaghan is awarded an honorary degree (LL.D.) by the University of Toronto. Fulford outlines his association with the university over the years and quotes from his acceptance speech.
C249 "(Pardon me, sir, but what do you think of the biggest country fair in the world?)" The Telegram [Toronto], 20 Aug. 1966, Sec. Showcase, p. 7. Callaghan (along with four other prominent Toronto citiens) ts asked his opinion of the Canadian National Exhibition: it belongs to the period of his youth and he doesn't often try to return there.
C250 Grescoe, Paul. "Canada's Quiet Literary Retailer." The Telegram [Toronto], 8 Oct. 1966, Sec. Showcase, p. 7. A profile on Robert Weaver, said to be the most important lierary figure in Canada; Callaghan and several others are quoted briefly.
C251 "Laurence of Manitoba." Canadian Author & Bookman, 42, No. 2 (Winter 1966), 6. Biographical profile of Margaret Laurence, which claims, in passing, that Callaghan supported her application for a Canada Council grant.
C252 "Who Were the Most Overrated and Underrated Writers of the Year?". The Telegram [Toronto], 31 Dec. 1966, Sec. Showcase, p. 23. Book editor, Barry Callaghan, asks "eight writers from four countries to talk about inflated reputations and neglected talents"; Morley Callaghan thinks Norman Mailer and Simone de Beauvoir are overrated and Sherwood Anderson underrated.
C253 Story, Norah. "Callaghan, Morley (1903- )." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, pp. 121-23. Rpt. (revised) in Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 25-26. An account of Callaghan's career, which emphasizes his "direct and unvarnished" style and the supposed strengthening of his convictions after 1933, as the result of conversations with Jacques Maritain. The 1973 edition updates Callaghan's career to 1972.
C254 Heaton, C[herrill]., P[aul]. Rev. of Morley Callaghan, by Brandon Conron. Queen's Quarterly, 74 (Spring 1967), 189-90. In his generally favourable review of Conron's monograph, Heaton alludes briefly to the mystery of Callaghan's unpublished novel, "Thumbs Down on Julien Jones"--he obviously believes the author may have begun work on it as early as 1942--and suggests that there is still much to say about Callaghan.
C255 Conron, Brandon. "Morley Callaghan as a Short Story Writer." Journal of Commonwealth Literature, No. 3 (July 1967), pp. 58-75. Conron examines Callaghan's work and reputation as a writer, with particular reference to his three collections of short stories. "Not Canadian, but American and European writers primarily influenced his literary career," but "despite similarities, Callaghan's style (contrary to popular misconception) is different from that of either of his older contemporaries [Hemingway and Sherwood Anderson]." Includes material previously published in the critical study, Morley Callaghan, 1966 (CI).
C256 Sinclair, Catherine. "'A Guy needs a bit of strut.'" Canadian Magazine, 7 Oct. 1967, pp. 3-4. A profile based on an interview and the assumption that "few of [Callaghan's] countrymen . . . know much about him." Sinclair includes biographical information and candid comments by the author on birth control, hippies, the monarchy in Canada, self-confidence, the perils of living in Rosedale, pirated editions of his work, and the necessity of rejecting "the laurel wreath."
C257 "This Is What We Learned." Canadian Author & Bookman, 43, No. 2 (Winter 1967), 6. The results of a "Canadian Literary Survey" conducted by the Canadian Author & Bookman; Callaghan is ranked third as a contemporary prose writer who "has the best chance of still being read in 2000 A.D.," and fourth in a list of "Canada's 10 top novelists."
C258 "'Silly matter of vanity;' Callaghan Spurns Medal." The Globe and Mail, 23 Dec. 1967, p. 1. Callaghan refuses the medal of service of the Order of Canada because it is a second-class honour; he is quoted at length in the report.
C259 "Measuring the Writers." Editorial. The Globe and Mail, 27 Dec. 1967, p. 6. Sympathizes with Callaghan's rejectlon of the Order of Canada's medal of service, and points out that "difficulties will arise" when the honours are graded.
C260 "Canadian Spurns Place in Honours List." The Times, 28 Dec. 1967, p. 4A. A report of Callaghan's rejection of the Order of Canada's medal of service. Callaghan is quoted and support for his position is noted in The Globe and Mail.
C261 Walz, Jay. "Canada's Centennial Proves to Be a Profitable Year." The New York Times, 31 Dec. 1967, p. 18. Brief mention is made of Callaghan's refusal of the Order of Canada's medal of service in a summary of events in Canada's centennial year.
C262 Callaghan, Barry. "Memoir." In Shapes and Sounds: Poems of W. W. E. Ross. Ed. Raymond Souster and John Robert Colombo. Don Mills, Ont.: Longmans, 1968, pp. 1-3. Rpt. (excerpt)in The Telegram [Toronto], 25 June 1968, p. 54. In the course of his memoir, Callaghan's son, Barry, recalls his first meeting with the poet and his wife, Mary Lowrey Ross, as a child, and Eustace's regular Saturday evenmg visits to his father's house.
C263 H[ood]., H[ugh]. "Callaghan (Morley)." Encyclopaedia Universalis. 1968. Brief biographical note and assessment; Hood suggests that Callaghan's real masters were Sherwood Anderson, Tolstoy, and Chekhov, not Hemingway, and that he has had a strong influence on the work of Margaret Laurence, Mordecai Richler, and Dave Godfrey. He is described as "le chef de file de l'ecole naturaliste-symboliste contemporaine."
C264 Weaver, Robert. Editorial. The Tamarack Review, No. 46 (Winter 1968), p. 5. Weaver applauds Callaghan's rejection of the Order of Canada's medal of service and laments the fact he has not yet been given the Molson Prize.
C265 Matthews, John. "The Inner Logic of a People: Canadian Writing and Canadian Values." Mosaic, I, No. 3 (April 1968), 44-45, 46, 47. Matthews analyses Callaghan's The Loved and the Lost (1951), MacLennan's The Watch That Ends the Night (1958), and Scott Symons' Place d'Armes (1967) as political allegory, in order to illustrate his contention that "the inner logic" of the Canadian tradition involves "the need to reflect black and white definitions and to come to the acceptance of paradox." In this view, "Callaghan's book stand[s] on the threshhold of the quiet revolution" and "presents a society operating and interacting from a series of racial, cultural and economic compartments." Peggy Sanderson is "an emblem of moral synthesis, refusing classification" and her death is the result of an "ominous" move, on the part of society, "from the validity of the private vision to an insistence on forcing that vision on others."
C266 New, Wilham H. "A Wellspring of Magma: Modern Canadian Writing." Twentieth Century Literature, 14, No. 3 (Oct. 1968), 128-29. Brief mention of Callaghan in a survey of Canadian writers worthy of more than "provincial sociological" interest: "... he isn't the good novelist that Edmund Wilson claims him to be."
C267 Stephens, Donald. "Lilacs out of the Mosaic Land: Aspects of the Sacrificial Theme in Canadian Fiction." Dalhousie Review, 48 (Winter 1968-69), 504. A brief analysis of Callaghan's The Loved and the Lost in a survey of the sacrificial theme in Canadian fiction. Stephens suggests that the novel "teaches that if Christ were alive today we would either kill him again or put him in a mental institution."
C268 Baker, Carlos. Ernest Hemingway: A Life Story. New York: Scribners, 1969, pp. 119-21, 201-02, 204-06, 598n. Callaghan's That Summer in Paris is occasionally used as a source. Baker includes a full account of the Callaghan-Hemingway boxing match, plus a reference to Callaghan's letter to Isabel Paterson (B402) denying the knock-out.
C269 Dawe, Alan. Profile of a Nation: Canadian Themes and Styles. Toronto: Macmillan, 1969, pp. 23-24, 197-204. A college-level textbook and anthology which includes a reprint of Callaghan's "A Girl with Ambition," as an example of "changing patterns in Canadian life." This story is also used to show "implied conflicts that are represented symbolically" and that a plot "can often be seen as a symbolic representation of the author's main idea." "One [other] possible approach to this story is to examine its plot structure in terms of the various choices that are open (or seem to be open) to Mary Ross, the story's central character." Dawe includes a brief biographical note.
C270 Land, Myrick. The Fine Art of Literary Mayhem: A Lively Account of Famous Writers and Their Feuds. New York: Holt, Rinehart and Winston, 1969, pp. 195-97. An account of the Hemingway-Callaghan boxing match and the misunderstanding that resulted from it.
C271 W[ells]., K[en]. "Callaghan, Morley (1903- )." In Twentieth Century Writing: A Reader's Guide to Contemporary Literature. Ed. Kenneth Richardson. New York: Transatlantic Arts, 1969, pp. 105-06. A summary of Callaghan's writing career and themes, which is frankly dismisslve of his supposed indebtedness to Hemingway and sympathetic to his work as a novelist. Wells suggests that, due, perhaps, to his flat style, unromantic Canadian settings, and unfashionable concerns, critical reaction has been varied and extreme.
C272 Hart, Jeffrey. "Fitzgerald and Hemingway: The Difficult Friend." National Review, 14 Jan. 1969, p. 29. An article on the "odd, complicated, and strained relationship" between Hemingway and Fitzgerald which is only tangentially relevant to Callaghan studies. Hart begins the piece by recounting Callaghan's version of the famous boxing match in That Summer in Paris.
C273 Reid, John. "Journey out of Anguish." Canadian Literature, No. 39 (Winter 1969), pp. 24-25. Rpt. in Wyndham Lewts in Canada. Ed. George Woodcock. Introd. Julian Symons. Vancouver: Univ. of British Columbia Press, 1971, pp. 101-02. Bittersweet memories of Wyndham Lewis in exile in London, Toronto, Buffalo, and New York, c. 1939-40. Reid includes a brief mention of Lewis' Saturday Night article (C110) on Callaghan's collection of short stories, Now That April's Here and maintains that the sentiments expressed in the piece were uncharacteristic of Lewis.
C274 Edel, Leon. Introduction. In Memoirs of Montparnasse. By John Glassco. Toronto: Oxford Univ. Press, 1970, p. x. Edel mentions Callaghan's "unkind" story about John Glassco and Graeme Taylor, "Now That April's Here," and briefly recalls meeting him in Paris: "I found Callaghan very young, very robust, very Toronto ...."
C275 Glassco, John. Memoirs of Montparnasse. Introd. Leon Edel. Toronto: Oxford Univ. Press, 1970, pp. 88-91, 97-102, 221. Glassco apparently "saw a good deal of Morley and Loretto [Callaghan]" during their brief sojourn in Paris in 1929. In Chapters x and xi of his memoirs he recalls his first meeting with them, and a subsequent visit with Morley to Le Palermo, a Paris cabaret. The young couple is portrayed as money-conscious and earnest. In Chapter xxv, Callaghan's story, "Now That April's Here," is briefly dismissed. Supposedly based on John Glassco and Graeme Taylor, the story is said to be "rather nasty" and "full of holes."
C276 Jones, D. G. Butterfly on Rock: A Study of Themes and Images in Canadian Literature. Toronto: Univ. of Toronto Press, 1970, pp. 52-55, 61-62, 66-67, 158, 165, 179. In a chapter titled "Eve in Dejection," Jones suggests that Peggy Sanderson is an example of those feminine figures in Canadian literature representing the creative, potent forces of nature, who offer themselves to the protagonist only to be rejected. McAlplne and the society he represents are divided against themselves. Peggy embodies and would integrate "the two poles of the irrational world . . . symbolized by the leopard and the church." Jones also comments briefly on the conventional religious figures in The Loved and the Lost and Such Is My Beloved and argues that the opposition between "the garrison vs. the wilderness" is "the persistent preoccupation" of many Canadian novelists, including Callaghan.
C277 Jones, Joseph, and Johanna Jones. "Morley Callaghan (1903- )." In their Authors and Areas of Canada. People and Places in World-English Literature, No. I. Austin, Tex.: Steck-Vaughn, 1970, pp. 8-9. A short biographical dictionary entry which includes one paragraph characterizing Callaghan's work, a selected list of readings, and an excerpt from the story, "Two Fishermen." Callaghan's name is also included on "A Literary Map of Canada," pages 2-3.
C278 Richler, Mordecai. Introduction. In Canadian Writing Today. Ed. Mordecai Richler, Harmondsworth, Eng.: Penguin, 1970, pp. 17, 18, 19, 20, 21, 22. Although Richler does not include any selections by Morley Callaghan in his anthology, he refers to him in the Introduction several times. He claims Callaghan once told a reporter "... there's really nobody in Canada I want to impress." Richler numbers him among "the older writers we read not dutifully, but with honest pleasure." He also chides The Canada Council for their failure (at the time of writing) to award Callaghan the Molson Prize. He notes, too, that Callaghan was "overlooked" and then "insulted" by the Order of Canada. (Richler dedicates the anthology: "For Morley Callaghan." )
C279 Walsh, William. "Morley Callaghan." In his A Manifold Voice: Studies in Commonwealth Ltterature. New York: Barnes and Noble, 1970, pp. 185-212. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 129-54. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, pp. 256-57. The reactions of a "British reader." Walsh remarks on "the feeling of pre-1914-18 provincial newspaper chronicles" in Callaghan's stories, on his style ("plain to the point of drabness, and often painfully clumsy"), and "the cinematic method" of novels such as More Joy in Heaven. He concludes that the "traditional steadiness [of a religious sensibility] blends in Callaghan with that acute feeling for contemporary society, which to a European at least, seems very natural to an artist working in the New World," and claims that "the combination makes him a novelist of an impressively serious quality." Walsh discusses Callaghan's stones, Such Is My Beloved, More Joy in Heaven, The Loved and the Lost, and The Many Colored Coat, the latter two works being the critic's favourites. No mention is made of They Shall Inherit the Earth.
C280 Weaver, Robert. Introduction. In Strange Fugitive. Edmonton: Hurtig, 1970, pp. vii-xii. Rpt. ("Introduction to Strange Fugitive") in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 27-29. Weaver recounts the original circumstances of the novel's publication and suggests that it has contemporary relevance. He also notes that "Callaghan has effected a subtle change of character by adding two pages of text (continuing from page 126) written specifically for the reprint."
C281 Woodcock, George. Canada and the Canadians. London: Faber & Faber, 1970, pp. 251, 254-55. 2nd ed., 1973, pp. 253, 256-57. Woodcock briefly mentions Callaghan in part six of Chapter ix, "Culture and the Death of Colonialism": although Callaghan was "the first Canadian novelist" to combine literary skill "with the authentic voice of the country," both he and Hugh MacLennan are "rather conservative in philosophy and in technique."
C282 Walsh, William. "Streets of Life: Novels of Morley Callaghan." Ariel, x, No. I (Jan. 1970), 31-42. A distillation of Walsh's original piece, "Morley Callaghan," in his A Manifold Voice: Studies in Commonwealth Literature (C279).
C283 "Canadian Novelist Wins $15,000 Prize." The New York Times, 19 March 1970, p. 57. "Morley Callaghan, Canadian novelist, received a $15,000 Molson award from the Canada Council today." Includes names of other recipients.
C284 New, W. H. "Independent Criticism." Rev. of Brian Moore, by Hallvard Dahlie; Frederick Philip Grove, by Douglas O. Spettigue; and Morley Callaghan, by Victor Hoar. Canadian Literature, No. 44 (Spring 1970), pp. 74-76. New is briefly critical of Callaghan's A Passion in Rome in his review of Hoar.
C285 "Lightning Shafts." Time [Canada], 30 March 1970, pp. 8-8A. Announcement of the Molson Prizes. Callaghan says the awards are like lightning: "You never know where they are going to strike next." Includes a brief resume of his career and a photograph of the prize winners.
C286 Weaver, Robert. Editorial. The Tamarack Review, No. 54 (Second Quarter 1970), p. 3. The editorial includes an announcement of Callaghan's receipt (Weaver insists not before time) of both the Molson Prize and the Royal Bank Award: "The awards are a tribute to the most distinguished and the most stubbornly enduring career in Canadmn letters."
C287 Annesley, Pat. "A Triumph over Isolation." The Telegram [Toronto], 9 April 1970, p. 58. A profile on Callaghan, based on interviews with his two sons, Barry and Michael, and with the author himself. Annesley includes information about Callaghan's father and mother, the reasons for his completion of his law degree, the summers he spent in Montreal with his friend Dink Carroll, his irregular work pattern, favourable assessments of The Loved and the Lost by Edmund Wilson, Jacques Maritain, and Hans Selye, and Callaghan's pride in his own independence and physical toughness. Brief mention is made of "his latest novel, 'Thumbs Down on Julian [sic] Jones,'" and "a new one, a quick one, called 'Then It All Came Together,' which he's already halfway through."
C288 Sypnowich, Peter. "Prize-Winning Writer Callaghan Scoffs at His 'Neglected' Tag." Toronto Daily Star, 9 April 1970, pp. i, 5. A profile on Callaghan in the wake of his receipt of the $50,000 Royal Bank Award. Callaghan complains that Edmund Wilson's categorization of him as "the most unjustly neglected novelist in the English-speaking world" has "been a millstone around [his] neck"; he and his wife, Loretto, enloy their anonymity. Sypnowich recounts Callaghan's other awards and his determination not to accept any more honorary degrees. Callaghan is incredulous that the selection committee for the Royal Bank Award had ever been interested in his work. Includes a quotation from Carl F. Klinck's and A. Brandon Conron's letter of nomination.
C289 "A $50,000 Award for That Neglected Novelist." The Globe and Mail, 10 April 1970, p. 12. "Toronto author Morley Callaghan yesterday was named the 1970 winner of the $50,000 Royal Bank of Canada award." Includes background information about his career.
C290 Sutherland, Ronald. "The Calvinist-Jansenist Pantomime: An Essay in Comparative Canadian Literature." Journal of Canadian Studies, 5, No. 2 (May 1970), 15-17. Rpt. in Second Image: Comparative Studies in Quebec/Canadian Literature. By Ronald Sutherland. Toronto: new, 1971, pp. 74-79. In the course of this essay, Sutherland suggests that there are remarkable similarities between Morley Callaghan's Such Is My Beloved and Giles Marcotte's Le Poids de Dieu: in both novels the figure of the "pretre manque" does not try to attack or destroy the institution to which he cannot adjust but resorts to some device of self-effacing adaption. This is seen to be the legacy of a Calvinist-Jansenist tradition, one sharply differentiated from American puritanism, but none the less powerful for that: "the Jansenism of French Canada and the Calvinism of English Canada inculcated exactly the same attitudes regarding man's relationship to God and his role on earth."
C291 "Writer Callaghan to Read Excerpts from New Novel." Winnipeg Tribune, 23 May 1970, p. 16. Rpt. ("Callaghan Thumbs Down on Juhan [sic] Jones") in Weekend Magazine [The Montreal Star], 30 May 1970, Sec. Entertainment, p. 33. Announcement that Callaghan is to read excerpts from "his newest novel, 'Thumbs Down on Julian Jones' [sic], on four successive Saturdays beginning June 6" on CBC radio's Anthology series (B470-B473). Includes information about the author's radio and television career. The Montreal Star account includes a brief synopsis of the novel's plot and says that Callaghan has been working on it since 1942. Callaghan himself defines the general theme.
C292 French, William. "Books & Bookmen." The Globe Magazine [The Globe and Mail], 6 June 1970, p. 16. French notes that Callaghan will begin reading excerpts from his new, unpublished novel, "Thumbs Down on Julien Jones," on CBC radio "tonight" (B470) and suggests that he will be making literary history in so doing. Includes a brief synopsis of the novel.
C293 Hyman, Ralph. "Unruffled Callaghan Picks Up a Big Cheque." The Globe and Mail, 16 June 1970, p. 13. Hyman reports "a black tie gathering at the Royal York Hotel," an informal press conference held at the Toronto Men's Press Club a few hours before the dinner, and Callaghan's acceptance speech on receipt of the Royal Bank Award.
C294 Sypnowich, Peter. "Morley Callaghan Accepts His $50,000 with a Chuckle." Toronto Daily Star, 16 June 1970, p. 34. Although Callaghan's speech on receipt of the Royal Bank Award was calculated "to offend just about everyone," Callaghan "charmed his audience with jokes" and "got two standing ovations."
C295 McMullin, Stanley E. Rev. of Frederick Philip Grove, by Douglas Spettigue; and Morley Callaghan, by Victor Hoar. Dalhousie Review, 50 (Summer 1970), 291, 293, 295, 297, 299. Callaghan "has seldom been considered within a Canadian literary tradition," and the time to alter that tendency has arrived. Because Callaghan's characters and situations have "universal" appeal, the important influences of the Canadian milieu have been ignored.
C296 Perry, Robert L. "What They're Reading." Financial Post Magazine [ The Financial Post], 27 June 1970, p. 29. A brief report of Callaghan's enthusiasm for "good young writers" in Canada and the U.S.A.
C297 Harrison, Dick. "The American Adam and the Canadian Christ." Twentieth Century Literature, 16, No. 3 (July 1970), 163-64. Harrison briefly mentions Father Dowling in Callaghan's Such Is My Beloved, as an example of the kind of redemptive figure to be found in "a great diversity of Canadian novels." The Canadian archetype is different from "the American Adam." Harrison also cites a passage from The Loved and the Lost to underscore the "symbolic arrangements" in Callaghan's fiction. Peggy's death is "pathetic," "not heroic."
C298 "Eminent Canadians Name Their Best Vacations)." Financial Post Magazine [The Financial Post], Nov.-Dec. 1970, p. 20. Callaghan, along with six other eminent Canadians, is polled on his best vacation. He "doesn't believe in planned vacations, hasn't taken one in years."
C299 New, William H. "In Defence of Private Worlds: An Approach to Irony in Canadian Fiction." Journal of Commonwealth Literature, No. 10 (Dec. 1970), pp. 140-41. Callaghan is briefly mentioned in the section of the article in which New points out that "a number of Canadian works contend with the isolated person's point of view." The Loved and the Lost "presents in styptic prose the problem of never really knowing another person."
C300 "Novelist Earns Draw with Armed Intruder in Defence of House." The Globe and Mail, 10 Dec. 1970, P. 5. Callaghan foils the robbery attempt of an armed intruder and is interviewed about the affair.
C301 Fitzgerald, F. Scott, and Max Perkins. In Dear Scott/Dear Max: The Fitzgerald-Perkins Correspondence. Ed. John Kuehl and Jackson R. Bryer. New York: Scribners, 1971, pp. 10, 150, 158-62, 166, 174, 178, 250, 274n. Scattered references to Callaghan (mostly unflattering) in the Introduction and the correspondence. The letters cover the period between the two World Wars and document Fitzgerald's part in the Hemingway-Callaghan boxing match. Includes letters published previously in the Turnbull edition of Fitzgerald's letters (C221).
C302 Clever, Glenn. "Callaghan's More Joy in Heaven as a Tragedy)' Canadian Fiction Magazine, Nos. 2-3 (1971), pp. 88-93. More Joy in Heaven "presents a Christian allegory, a three act play, and a formal tragedy." As a tragic hero, Kip Caley is "a man of great potential," who is "motivated towards the good of his fellow man," but he is betrayed by the basic flaws of violence and pride. The plot echoes the crucifixion story and Kip transcends the "inexorable pressures" of the fates by his affirmation on the spiritual level of the positive value of love.
C303 Chastain, Thomas. "Authors & Editors." Publishers Weekly, 7 June 1971, pp. 15-17. A profile on Callaghan, based on an interview, in the wake of his receipt of the Molson Prize and the Royal Bank Award. The awards are seen as "signs... that Canada is reclaiming the author," despite the fact that "virtually all of his work has been published first in the United States." There is talk of the television program on him currently being prepared by the CBC, and "a new novel which he is finishing." Callaghan comments on the differences between a Canadian writer and an American, his reluctance to appear regularly on TV, his "strong opinions" about writing, the "mythic quality" of his last three novels, and the difference between the novels of the 1920s and 1930s and those of today. The article quotes enthusiastic comments by Edmund Wilson and Alfred Kazin about Callaghan's work.
C304 New, W. H. "Callaghan Revisited." Rev. of A Manifold Voice: Studies in Commonwealth Literature, by William Walsh. Canadian Literature, No. 49 (Summer 1971), p. 98. In his brief review of Walsh's monograph, New comments in passing that Callaghan is "an odd choice to show off Canadian linguistic significance."
C305 Tate, Allen. "Miss Toklas' American Cake." Prose, No. 3 (Fall 1971), pp. 151, 258. Rpt. in Memoirs and Opinions 1926-1974. By Allen Tate. Chicago: Swallow, 1975, pp. 57, 63. Tate recalls his "education" by expatriate American writers and others in Paris, c. 1928-29. The piece includes a brief mention of Callaghan's irregular attendance at Ford Madox Ford's Saturday night "soirees," and a reference to F. Scott Fitzgerald's apparent remorse at the lie he claimed Hemingway had bullied him into when he cabled Max Perkins "denying that Morley Callaghan had knocked Hemingway out in a sparring match."
C306 "Morley Callaghan." Prod. William Harcourt and Garth Price. Tuesday Night. CBC TV, 26 Oct. 1971 (60 min.) A profile filmed in Toronto, New York, Rome, Montreal, and Paris, tracing Callaghan's career from his early days as a law student to his decision to become a writer and his sojourns in New York, Paris, Montreal, and Rome. The author relates stories of his friendships with writers such as Ernest Hemingway and F. Scott Fitzgerald and discusses the genesis and themes of several of his works. Callaghan explains that "all [his] stories are love stories--short stories or novels, they deal with some aspect of love, or the failure of love--I suppose mainly about the failure of love" and that many of them came to him literally "right off the streets." He also says that he's "very thankful that [he] had no understanding whatever about pastoral theology" and doubts that you "can love generally, without loving concretely": "Love is unconfined and love is the root of the whole matter." He also claims that "The whole point of all my works, in a sense, has been a kind of rejection of the conception of innocence": "Innocence is a bad word." Callaghan's wife, Loretto, is present in the segment of the program filmed in Paris. At the end of the program, Callaghan pronounces himself satisfied with his career and his success: "There is no success--for me--simply in the money." The profile includes brief readings (and dramatizations) from Callaghan's first story, "A Girl with Ambition," Strange Fugitive, That Summer in Paris: Memories of Tangled Friendships with Hemingway, Fitzgerald and Some Others, It's Never Over, A Broken Journey, Such Is My Beloved, The Loved and the Lost, The Many Colored Coat, and A Passion in Rome.
C307 Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, pp. 136-37, 150-51, 206. "Last Spring They Came Over" is cited as an example of the failed immigrant pattern in Canadian literature. Atwood also notes that "characters from the Parent generation" abound in Callaghan's fiction and that "something that looks like a real Venus makes an appearance in . . . The Loved and the Lost .... "
C308 Bagramov, Leon. "Morley Kallagan y eho roman." In Lyubimaia i poteriannaia. Trans. E. Korotkovoi. Moscow: Molodaia gvardiia, 197z, pp. 5-12. An introduction to the Russian translation of The Loved and the Lost which includes, in addition to an outline of Callaghan's career, a plot summary and some discussion of the novel's main characters and central theme. The latter is said to be the regrettable necessity in post-war Montreal of accepting the values of contemporary Canadian bourgeois society in order to succeed, and Peggy's rebellion is seen as an early manifestation of the "New Left." The account of the life closely follows that of Brandon Conron.
C309 Reference Division, McPherson Library, University of Victoria, B.C., comp. "Callaghan, Morley Edward* 1903- ." In Creative Canada: A Biographical Dictionary of Twentieth-Century Creative and Performing Artists. Vol. II. Toronto: Univ. of Toronto Press, 1972, 48-49. Includes biographical details, awards and honours, radio and television contributions, and a list of Callaghan's works.
C310 Thomas, Clara. "Morley Callaghan 1903- ." In her Our Nature--Our Voices: A Guidebook to English-Canadian Literature. Vol. I of Our Nature--Our Voices. Toronto: new, 1972, pp. 114-18. A short summary of Callaghan's life and career. Thomas asserts: "Except that both Hemingway and Callaghan were working to 'strip the language' to their purposes, there is absolutely no question of literary influence between them." Includes a brief bibliography.
C311 Walsh, William. "Callaghan, Morley (Edward)." In Contemporary Novelists. Ed. James Vinson. London: St. James, 1972, pp. 228-31 2nd ed., 1976, pp. 235-38. Walsh focuses on the novels of Callaghan's middle and later periods in his assessment of the author's career: "These novels, different in theme and setting, have in common a preoccupation with what I should like to call self-preservation. . . the gift of genius that some [characters] have for preserving intact the lineaments of their nature." The Many Colored Coat is pronounced "one of the finest of Morley Callaghan's novels," and Such Is My Beloved is judged to be more "accessible" to a British reader than the "irremediably indigenous" More Joy in Heaven. Includes a list of publications (and some factual errors), as well as material from Walsh's more extended treatments of Callaghan elsewhere (C279 and C282).
C312 Young, Scott. "False Alarm." The Globe and Mail, 24 Jan. 1972, p. 7. Young inveighs against the censorship attempts of two Muskoka ministers who want J. D. Salinger's Catcher in the Rye and Callaghan's Such Is My Beloved banned from English classes at Huntsville High School.
C313 Rhodes, Ann. "Why Malcolm Lowry Makes a Great Canadian Travel Companion and Morley Callaghan Does Not." Financial Post Magazine [ The Financial Post], 25 March 1972, p. 9. The title of this article is misleading; in a short list of novels relevant to particular places in Canada requested by Rhodes from Germaine Warkentin and John Warkentin, Germaine Warkentin simply remarks in passing that Callaghan, like Margaret Atwood and others, turns Toronto into an archetypal North American city.
C314 New, William H. Introduction. World Literature Written in English, 11 (April 1972), 8. Callaghan is mentioned briefly in New's Introduction to a special issue devoted to Canadian short story writing: "his aim was to distill language, and by so doing, to demonstrate the open integrity both of everyman's aspirations and of art."
C315 Annesley, Pat. "Morley Callaghan's Family." Toronto Life, June 1972, pp. 27-28, 52-55. Annesley interviews Callaghan's sons, Michael and Barry, at length about themselves and their father. Loretto is portrayed as the strong, silent partner in what is essentially a male-dominated (and chauvinist) family of fierce loyalties, passionate opinions, and considerable pride. Includes valuable insights and information about family dynamic and the professional careers and lives of the sons. The equivocal nature of the family's position in conventional Rosedale is noted briefly, as is the Saturday night "salon" regularly held at 20 Dale.
C316 Fulford, Robert. "Is Morley Callaghan Playing Literary Games in His Latest Novel?". Toronto Star, 10 June 1972, p. 75. Fulford points out striking similarities between the life and work of Callaghan himself and that of his new fictional character, Eugene Shore, and wonders what the author is up to. Fulford's speculations are based on the first three chapters of the novel, "In the Dark and the Light of Lisa," published "this week in the first issue of Exile, a York University magazine edited by the critic, Barry Callaghan, Morley's son."
C317 French, William. "Edmund Wilson." The Globe and Mail, 15 June 1972, p. 14. In his obituary tribute to Edmund Wilson, French briefly contends that the controversy engendered by Wilson's laudatory remarks about Callaghan "has obscured what is really a cogent and perceptive analysis of Callaghan's work, putting the emphasis, as it should be, on the basic but unobtrusive sense of Christianity in his fiction."
C318 French, William. "Two New Quarterlies: A Haven for the Imaginative and a Black Consciousness." Rev. of Exile, I, No. I (1972); and The Black I, I, No. I (1972). The Globe and Mail, 17 June 1972, p. 28. French singles out the first three chapters of Callaghan's novel, "In the Dark and the Light of Lisa," as "the most interesting contribution" in the first issue of Exile: "... the most fascinating aspect of the novel so far is the presence of Callaghan himself as a character."
C319 Dahlie, Hallvard. "Destructive Innocence in the Novel [sic] of Morley Callaghan." Journal of Canadian Fiction, I, No. 3 (Summer 1972), 39-42. Dahlie traces the theme in five novels: Such Is My Beloved, They Shall Inherit the Earth, More Joy in Heaven, The Loved and the Lost, and The Many Colored Coat. With Callaghan, unlike Faulkner and James, "the destructive effect of innocence . . . emanates from society and is imposed upon the individual because society cannot or will not accept innocence as a possibility." While Peggy Sanderson's "kind of innocence leads inevitably to destruction ...., it is surely wrong to attribute this to any unwholesomeness within her; Callaghan's indictment here is clearly levelled at [society]."
C320 Laurence, Margaret. "Commentary." Journal of Canadian Fiction, I, No. 3 (Summer 1972), p. 75. In her critique of this issue of the Journal of Canadian Fiction, Laurence suggests "that Callaghan himself knows more about the ambiguous nature of innocence than we are given to believe [in Hallvard Dahlie's article]" (C319).
C321 Sutherland, Fraser. "Hemingway and Callaghan: Friends and Writers." Canadian Literature, No. 53 (Summer 1972), pp. 8-17. A condensed version of Sutherland's arguments in his The Style of Innocence: A Study of Hemingway and Callaghan (C3).
C322 "Originals." Maclean's, Aug. 1972, p. 24. Callaghan's name is linked briefly with those of Marshall McLuhan and pop-singer David Clayton Thomas: the three have originality in common. The longstanding neglect of Callaghan's work by local critics is decried.
C323 Woodcock, George. "Callaghan's Toronto: The Persona of a City." Journal of Canadian Studies, 7, No. 3 (Aug. 1972), 21-24. Rpt. in The World of Canadian Writing: Critiques & Recollections. By George Woodcock. Vancouver: Douglas & McIntyre, 1980, pp. 182-88. Callaghan's Toronto (as reflected in the six novels published during the decade 1928-37) is "a construct of the mind" which fulfills three functions: it "projects an impressionistic view of the city's past," "provides verisimilitude," and "lives in its own clear light of memory." The recurrent use of the cathedral in Callaghan's novels "enables [him] to fuse his own experience as an Irish Catholic . . . with the wider experience of other citizens to whom the tower may be merely a landmark."
C324 Fetherling, Doug. "That Old Hemingway Factor." Rev. of The Style of Innocence: A Study of Hemingway and Callaghan, by Fraser Sutherland. The Globe and Mail, 28 Oct. 1972, p. 32. Callaghan "has been ambivalent about not only these old friendships [with Hemingway and Fitzgerald] but about early influences as well." Fetherling documents the ambivalence.
C325 French, William. "The Old Man and the Kid (Callaghan, that is)." The Globe and Mail, 28 Oct. 1972, p. 27. The sale of a Hemingway letter to Arthur Mizener, written 4 Jan. 1951, describing the Hemingway-Callaghan fight, is the occasion for another interview with Callaghan on the matter. He disputes several points in the Hemingway version and blames the failure of their friendship on Fitzgerald.
C326 Garner, Hugh. One Damn Thing after Another. Toronto: McGraw-Hill Ryerson, 1973, pp. l08, 119, 130-31. Garner briefly mentions Callaghan's encouragement of his writing, and describes a party both men attended during the Canadian Writers' Conference in Kingston in 1955. He also mentions that Callaghan was approached by owner Jack Cooke, to edit Saturday Night.
C327 Gibson, Graeme. "Mordecai Richler." In his Eleven Canadian Novelists. Toronto: House of Anansi, 1973, pp. 272-73. The interview includes a brief tribute to Callaghan by Richler: he respects Callaghan "enormously," although he thinks he is "fundamentally a short story writer."
C328 Gnarowskl, Michael. A Concise Bibliography of English-Canadian Literature. Toronto: McClelland and Stewart, 1973, pp. 17-19, 2nd ed., 1978, pp. 20-23. Includes a chronological listing of Callaghan's published works, including some reviews of the latter, up to and including That Summer in Paris (1963). The notation also includes two articles by Callaghan himself, plus selected studies and articles about the author up to and including 1970. The 1978 edition updates both the listing of Callaghan's works and the selected studies and articles about him to 1975. Both editions are based on Gnarowski's dissertation (C524).
C329 Hood, Hugh. "Moral Imagination: Canadian Thing: In his The Governor's Bridge is Closed. Ottawa: Oberon, 1973, pp. 94-95. Hood mentions Callaghan briefly in an essay in which he claims Canada has missed out on the Romantic Movement and revolutionary ideology and instead preserves the moral and religious instincts of seventeenth- and eighteenth-century England and France. He suggests, for example, that Canadians are not hero-worshippers: Callaghan's More Joy in Heaven is "a strange blend of the Christian gospel and the biography of a real-life bandit, not an aesthetically successful mythic presentation of a Canadian hero."
C330 Hood, Hugh. "Surviving with Magazines." In his The Governor's Bridge is Closed. Ottawa: Oberon, i973, p. 7. In a short piece on Canadian journalism, Hood singles out Callaghan, Hugh Garner, Hugh MacLennan, and Mordecai Richler as exceptions to the general rule that imaginative writers in Canada do not write for magazines. Hood claims he first read Callaghan as a columnist in New World [Toronto].
C331 MacCulloch, Clare. "The Early Twentieth Century (1900-1939)." In his The Neglected Genre: The Short Story in Canada. Guelph, Ont.: Alive, 1973, pp. 50-54. A general examination of the contributions of Stephen Leacock, E P. Grove, and Morley Callaghan to the development of the short story in Canada. MacCulloch discusses the influences on Callaghan of Hemingway, Sherwood Anderson, Tolstoy, and Maritain, and concludes that Callaghan "represents a turning point for Canadian writing in general," and for the short story genre, in particular. Callaghan's "sophistication," "conciseness," and "innovation" are praised.
C332 Walsh, William. "Canada." In his Commonwealth Literature. London: Oxford Univ. Press, 1973, pp. 77-89, 81. A general survey of the Canadian literary scene. Includes a condensed version of Walsh's assessments of Callaghan (C279, C282, and C311).
C333 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 121-24. A brief treatment of Callaghan's career, major works, and themes. Waterston suggests that Callaghan broke with the romantic tradition in order to construct "tense, ironic studies of the real city of 1920 and after," and that his "is an art of economy and intensity."
C334 Jones, D. G. "Myth, Frye and Canadian Writers." Canadian Literature, No. 55 (Winter 1973), p. II. Callaghan is mentioned briefly; his novels are said to be "a record of the defeat of the imagination," and The Loved and the Lost, in particular, is cited as an example of novels that "seem designed to dramatize our divided mind in regard to imaginative vision."
C335 Wiebe, Rudy. "A Literary Mismatch." Rev. of The Style of Innocence: A Study of Hemingway and Callaghan, by Fraser Sutherland. Books in Canada, Jan.-Feb. 1973, pp. 30-31. Wiebe insists that "a writer of Callaghan's stature and range demands his own, unhampered study." The opening chapters of It's Never Over, for example, are "superb" and have not received any study in depth. Sutherland's critical discussion is too general and, thus, "unworthy of the fine novels Callaghan has given us."
C336 Chastain, Thomas. "James T. Farrell." Publishers Weekly, 12 Feb. 1973, p. 30. An interview with James T. Farrell in which he recalls his associations with most of the leading writers of the 1930s, including Sinclair Lewis, Theodore Dreiser, Ernest Hemingway, F. Scott Htzgerald, Edmund Wilson, and Callaghan: "I think now [Callaghan] may be the best writer of the lot." Farrell also mentions that he has corresponded with Callaghan "for the last 10 years."
C337 Walz, Jay. "Canadian Writers Debate Nationalism." The New York Times, 24 April 1973, p. 34. A short survey of Canadian literary nationalism. Callaghan, Atwood, Richler, and Ludwig are all quoted briefly.
C338 Orange, John. "Callaghan and Hemingway." Rev. of The Style of Innocence: A Study of Hemingway and Callaghan, by Fraser Sutherland. Journal of Canadian Fiction, 2, No. 4 (Fall 1973), 95-96. Orange suggests that Sutherland's study proves "that one can house the two writers [Hemingway and Callaghan] together only if the building is very spacious."
C339 Ward, Margaret Joan. "The Gift of Grace." Canadian Literature, No. 58 (Autumn 1973), pp. 19-25. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley. Vol. III. Detroit: Gale, 1975, 97-98. "The pattern of regeneration to which [Callaghan] repeatedly turns [in his novels] is firmly rooted in Christian doctrine: man's fundamental involvement in social guilt, the importance of accepting personal responsibility for one's actions, the necessity of regeneration, the crucial role played by self-sacrificing love in regeneration, and the achievement of a new plane of existence characterized by more vital human relationships."
C340 Dragland, S. L. Rev. of The Immoral Moralists, by Patricia Morley; and The Style of Innocence: A Study of Hemingway and Callaghan, by Fraser Sutherland. Queen's Quarterly, 80 (Winter 1973), 653-54. In his generally favourable review of Sutherland's monograph, Dragland suggests that Callaghan's novels could have been improved by good editing.
C341 "Callaghan, Morley Edward 1903- ." In Contemporary Authors: A Bio-Bibliographical Gulde to Current Authors and Their Works. Rev. ed. Ed. Clare D. Kinsman and Mary Ann Tennen-house. Vols. IX-XII. Detroit: Gale, 1974, 141-42. A summary of the facts about Callaghan's personal life and career. The article quotes at length from Edmund Wilson's assessment and other reviews, and singles out That Summer in Paris for special comment. Includes a list of Callaghan's novels and "Other books," plus "Biographical/Critical Sources."
C342 Gouri, C. R. "Society and Solitude in The Loved and the Lost." In English Writing in the Twentieth Century. Ed. S. Krishna Sarma. Guntar, India: The English Association, 1974, pp. 97-103. The novel "could be considered as a study in alienation," a peculiarly Canadian theme. Gouri takes issue with George Woodcock's interpretation of it in terms of the Orpheus myth.
C343 Moss, John. Patterns of Isolation in English Canadian Fiction. Toronto: McClelland and Stewart, 1974, pp. 105-06, 110, 117-18, 122, 194-98, 215-24, Z41. Although Moss admits that "the themes of spiritual, moral, social isolation in Morley Callaghan's novels more readily relate to theological principles by far than to patterns of Canadian exile," he concludes an analysis of Callaghan's "tableau of frozen deer" from They Shall Inherit the Earth in Part II, "The Geophysical Imagination," in order to support his thesis that "the conditions of Canadian geography reflect rather than determine moral vision." In Part III, "Irony and the Individual Consciousness," Father Dowling and Duddy Kravitz are compared. In a chapter called "Callaghan and MacLennan," the visions of the two authors are analyzed: "in Callaghan's fiction, the focus is on the common patterns of life, the psycho-moral dimensions of personality, and not on the behavioural texture of those living it." The latter chapter also includes discussion of More Joy in Heaven, They Shall Inherit the Earth, and The Loved and the Lost. Peggy Sanderson and Father Dowling are mentioned as examples of "fool-saints."
C344 "Now That April's Here." In Canadian Feature Films: 1913-1969. Pt. II: 1941-1963. Canadian Film Archives. Canadian Filmography Series, No. 7. Ed. Peter Morris. Ottawa: Canadian Film Institute, 1974, p. 9. Brief synopsis, notes, and comments, on the film, Now That April's Here (1958), based on four of Callaghan's stories (C583). Includes production details, a full list of credits, and references to reviews.
C345 Stevens, Peter. "Canada." In Literatures of the World in English. Ed. Bruce King. London: Routledge & Kegan Paul, 1974, pp. 58-59. Callaghan's Such Is My Beloved and The Loved and the Lost are briefly mentioned in Stevens' analysis of Canadian literature's particular characteristics. Both novels are seen as examples of "irrational outbursts in some realistic novels /which] seem to be part of that strange mixture within the Canadian character."
C346 Tisseyre, Michelle. Introduction. In Telle est ma bien aimee. Trans. Michelle Tisseyre. Collection des deux solitudes. Montreal: Cercle du livre de France, 1974, pp. 11-12. Tisseyre note que "ce qui donna l'idee de ce livre a Morley Callaghan fut la serie d'entretiens qu'il eut avec . . . Jacques Maritain, alors que celui-ci enseignait a Toronto, et selon qui, a l'encontre des convictions de l'auteur, la foi se suffit a elle-meme." Elle fait allusion aussi a la mauvaise interpretation que la dedicace, "M[aritain]," a evoquee: on a pense que l'initiale etait celle d'une prostituee (D27). Tisseyre s'est decidee a traduire ce roman a cause de son style et de sa pertinence contemporaine.
C347 Wolfe, Morris. "Making Plays on the Assembly Line." Saturday Night, May 1974, p. 55. Brief mention of Callaghan's play, "And Then Mr. Jones" (B567), in Wolfe's review of the CBC television series, The Play's the Thing. Wolfe pans the contributions of Callaghan, Eric Nicol, and Pierre Berton, "none of which seemed worthy of production," and singles out Callaghan's play for special opprobrium.
C348 Frayne, Trent. "When Blossoms Are Blooming Honorary Degrees Go Popping." Toronto Star, 2 June 1974, p. B5. Callaghan is mentioned briefly in a general article on the phenomenon of honorary degrees; Callaghan says that he has begun turning such awards down.
C349 McKenna, Isobel. "Women in Canadian Literature." Canadian Literature, No. 62 (Autumn 1974), p. 77. Brief mention of Callaghan in McKenna's historical survey of Canadian writers' attitudes to women. His portraits of them are old-fashioned, either "Eve in modern dress" or "martyrs." Whereas his male characters tend to have strength, his women tend to blend into the background: "Callaghan sees the Christian virtue of self-negation as the woman's role."
C350 French, William. "Morley's Back." The Globe and Mail, 3 Dec. 1974, p. 19. French announces the publication of Callaghan's novel, A Fine and Private Place; he notes the publication of three chapters from it in Exile in 1972 and the reasons for the title change since then, and speculates on the similarities between the characters and "recognizable people" in Toronto, including the author.
C351 Bruccoli, Matthew J. "Interview with Allen Tate." In Fttzgerald/Hemingway Annual 1974. Ed. Matthew J. Bruccoli and C. E. Frazer Clark, Jr. Englewood, Col. : Microcard, 1975, p. 104. During the course of an interview about Fitzgerald and Hemingway, Tate refers to Callaghan as a "tough little Canadian novelist," says that he "didn't know Hemingway and Fitzgerald as well as all that," and insists that "the true story" of the Callaghan-Hemingway boxing match has never been told. Tate's version of the affair is that Callaghan did knock Hemingway out and immediately "sent a cable to his publisher." The interview was conducted on 6 March 1973.
C352 Conron, Brandon. Bibliography. In Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 155-56. Conron includes Callaghan novels, novellas, collections of short stories, unpublished plays, and non-fiction books. The bibliography refers to but does not list Callaghan's books in translation.
C353 Conron, Brandon. Introduction. In Morley Callaghan. Ed. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 1-16. Conron presents a chronological survey of Callaghan's literary development, focusing on the emergence of various techniques and thematic concerns, the critical response to his work, and the influences of people and places he encountered. Conron notes that Callaghan's models were not Canadian, but American and European and stresses that similarities between Callaghan and Hemingway are "superficial." Callaghan's "highly original" techniques include a "wistful lyrical quality," a "supremely ironic point of view," an insight into the "significance of the minutiae of ordinary life," and a concern for moral, not physical, courage. Critics have been divided over Callaghan's fiction: some, like George Woodcock, see him as a "moral allegorist," and others, like Malcolm Ross, warn against "such a rigorous allegorical reading. His later books received even more widely mixed critical receptions, from the praise of Hugo McPherson, Edmund Wilson, and Giose Rimanelli to the harsh comments of George Woodcock and Norman Mailer.
C354 Ferres, John H. "Callaghan, Morley." Encyclopedia of World Literature in the 20th Century. Vol. IV. Supp. and Index. 1975. A summary of Callaghan's contributions to literature, which emphasizes the author's significance and his faults. At least one of Ferres' conclusiuns is arguable: "... his concern with reaching an international readership has in turn deprived Callaghan's fiction of any searching speculation on Canadian life and experience." The summary includes an error of fact; Callaghan has never practised law. Includes a brief bibliography.
C355 Knister, Raymond. "Canadian Literati." Journal of Canadian Fiction, No. 14 (1975), pp. 165-66. Knister describes his meeting with Callaghan in an autobiographical fragment in which he expresses his general disappointment at the quality of Canadian writing. Although the two had differences of opinion, Knister claims Callaghan "knew more about how to write a page of narrative, and especially how not to write, than anyone [he] had met in Canada," and obviously admires him. He recalls the publication of Strange Fugitive and praises "the short stories of A Native Argosy."
C356 McMullen, Lorraine. "A Conversation with Leo Sunpson." Journal of Canadian Fiction, No. 13(1975), pp. 113, 114. Three brief references to Callaghan in McMullen's interview with Leo Simpson; Simpson admits to liking "most of Morley Callaghan's work," although he realizes that "a taste for Callaghan is not in the mainstream of Canadian literary criticism," and sympathizes with the author about "a bad review" of A Passion in Rome (Tony Emory; D60).
C357 New, William H. Among Worlds: An Introduction to Modern Commonwealth and South African Fiction. Erin, Ont.: Porcepic, 1975, pp. 124, 127, 245. Brief treatment of Callaghan in the chapter called "Canada: Home Ground, Foreign Territory." The "doubleness of [his] vision" is stressed. New also includes a partial list of Callaghan's works (and critical works about him) in his Bibliography.
C358 O'Halloran, Bonita. "Chronological History of Raymond Knister." Journal of Canadian Fiction, No. 14 (1975), p. 196. In her chronological list of important events in Knister's life, O'Halloran dates the author's first meeting with Callaghan (and other writers) during the week of 7-14 September 1926.
C359 Orange, John. "Callaghan and the Critics." Rev. of Morley Callaghan, ed. Brandon Conron. Journal of Canadian Fiction, No. 15 (1975), pp. 149-52. Orange discerns "two central trends in Callaghan criticism, both of them hinging on arguments about the appropriateness of the writer's style to his 'vision,'" and suggests there is "much more thinking to be done" about all of the issues associated with the author's writing.
C360 Smoller, Sandford J. Adrift among Geniuses: Robert McAlmon: Writer and Publisher of the Twenties. University Park: Pennsylvania State Univ. Press, 1975, pp. 2, 15, 202-03, 211-14, 216-18, 223-24, 227, 265, 319, 325-26, 360n. Smoller relies heavily on Callaghan's That Summer in Paris in his biographical account of McAlmon's exploits in Paris and quotes Callaghan's defence of the writer-publisher.
C361 Waddington, Marcus. "Raymond Knister: A Biographical Note." Journal of Canadian Fiction, No. 14 (1975), pp. 85, 188, 190. Includes a brief description of Knister's friendship with Callaghan, one of the "most stimulating relationships in this Toronto period [1927]," and outlines the differences of background and opinion between the two men. There is also mention of Knister's attempts to gain the support of Callaghan and others for a new literary journal, his correspondence with Callaghan (and others) during the early years of the Depression, and Callaghan's suggestion on a CBC radio program that Knister had "'drowned in a curious kind of way.'"
C362 Theriault, Jacques. "Le metier de traducteur: Le Quebecois se tailleralt une place au soleil." Entrevue avec Michelle Tisseyre. Le Devoir, 23 jan. 1975, p. 14. Dans l'entrevue, Tisseyre note que "Callaghan ecrit sur le ton de la confidence" et "a toujours vecu de sa plume." "La litterature russe a influence Callaghan considerablement, mais il detestait ses aines, pretendant que leurs noms etaient plus connus que leurs oeuvres."
C363 Orange, John. "Luke Baldwin's Vow and Morley Callaghan's Vision." Canadian Children's Literature, I, No. Ix (Spring 1975), 9-21. A detailed study of Callaghan's "novel for boys." Luke Baldwin's Vow "holds a more important place in Callaghan's canon than critics have previously allowed." It is not only "a carefully crafted novel that can stand on its own merits," but it "allows us some insight into how Callaghan works and thinks in his [other] fiction."
C364 Buitenhuis, Peter. "Mailer Was Wrong. The Egg Breaker Endures." Rev. of Morley Callaghan, ed. Brandon Conron. The Globe and Mail, 22 March 1975, p. 32. In his review of Conron's collection of critical writing about Callaghan, Buitenhuis speculates about the reasons for American prose versus Canadian condemnation of the author. He suggests that American critics may have been responding to a Romantic strain in the novels, one which runs counter to Realistic expectation, and points to "a fundamental discrepancy" in the work between its Realistic surface and its Christian moral vision.
C365 "Morley Callaghan poursuit inlassablement son oeuvre." Le Devoir, 26 mars 1975, p. 15. Rpt. trans. Denms Bueckert ("Morley Callaghan Still Blazing New Trails in Literature") in Winnipeg Free Press, 4 April 1975, p. 17. A brlef profile, based on an interview with the author just after the publication of Winter, which emphasizes the length of his career. Callaghan defines "l'ecrivain honnete" and stresses his love of novelty. In response to a suggestion that he is not well-known as a personality, he insists he has never been interested in building legends. The publication of A Free and Private Place is said to be imminent.
C366 Dunn, William. "Notes on a Master Novelist." Lost Generation Journal, 3, No. 2 (Spring-Summer 1975), 24-25. A brief profile on Callaghan, based on an interview, which sees him "as a link with 'the lost generation,' so many of whom were undone by their own success." Callaghan talks about Robert McAlmon, Hemingway, and Fitzgerald. Includes several errors of fact.
C367 Martin, Peter. "Callaghan: The Great Trick in Life -- Being Able to Say 'To Hell with You.'" The Globe and Mail, 14 June 1975, p. 27. A profile on Callaghan, based on an interview in the wake of his publication of A Fine and Private Place, which stresses the fact that he 'is read and respected hereabouts and he knows it." Callaghan comments on the sales of his books, his financial independence, and the work he's been doing during his supposed "dry spell" of thirteen years. He categorically denies any resemblance to his fictional character, Eugene Shore. Martin portrays him as "an interesting mixture of ego and insecurity."
C368 MacSkimming, Roy. "Morley Callaghan Reigns on the Roof." Toronto Star, 21 June 1975, p. F3. A full-page profile based on an interview conducted in the Roof Bar of the Park Plaza Hotel in Toronto, a setting which figures prominently in Callaghan's recently published novel, A Free and Private Place. The discussion centres on the novel, but includes a resume by MacSkimming of the "ups and downs" of the author's fifty-year career. Among other things, Callaghan comments on the "detached, balanced curiosity about people" exhibited in his work, which, MacSkimming suggests, is "a peculiarly Canadian approach to life"; the "obsession with analysis that cripples people today"; and the reasons why he keeps on writing.
C369 Base, Ron. "Morley Callaghan: 'I want to talk about me in my books and I do so . . . determinedly.'" The Sunday Sun [Toronto], 29 June 1975, pp. M2-M3. A feature article based on an interview "about two weeks" before the official publication date of A Free and Private Place. Base includes a plot summary pointing out the parallels between the author's life and his fictional character, Eugene Shore, plus background information about "the ghosts of Hemingway and Fitzgerald." Callaghan defines "the root of the whole book" as "what happens when you look too closely at things," and comments on his theatre involvement c. 1938, and his distaste for contemporary fiction, what he refers to as "hooker literature" and "the whole lode of Jewish-American literature that has sprung up."
C370 Amiel, Barbara. "Callaghan Turns on His Tormentors." Maclean's, July 1975, p. 77. Based on an interview with Callaghan in the wake of publication of A Fine and Private Place; includes a "mixed" review of the novel and Amiel's qualified response to Callaghan's query, "What do you think of my books?"
C371 Cohen, Matt. "Morley's Coy Mythress." Books in Canada, July 1975, pp. 3-5. Combines a "mixed" review of Callaghan's A Free and Private Place with a profile of the author based on an interview. Cohen comments on the men an Callaghan's novels, and Callaghan himself talks about his career and writing. Among other things, he suggests that "the best writing is automatic."
C372 MacSkimming, Roy. "Callaghan Ponders Offer from the New York Times." Toronto Star, 21 Aug. 1975, p. E10. "The New York Times Book Review has asked novelist Morley Callaghan to write a guest column, a 'letter from Canada', about what's going on here, but Callaghan hasn't made a decision yet." Includes information about Canadian and American reviews of A Fine and Private Place and the book's sales.
C373 Korte, Donald M. "The Christian Dimension of Callaghan's The Many Colored Coat." English Quarterly, 8, No. 3 (Fall 1975), 11-15. "The novel's central values of charity and humility; its main characters; Biblical allusions including the title; various motifs such as the eye; the recurring pattern of temptation, sin, and redemption; even the novel's basic framework all firmly place this work in the Christian tradition."
C374 McMillan, Eric. "Callaghan Is No Longer Pugnacious." The Varsity [Univ. of Toronto], 26 Sept. 1975, p. 3. Fragment only; report of Callaghan's speech and reading from his fiction "to a capacity crowd Thursday at Brennan Hall."
C375 "Callaghan, Morley 1903- ." In Canadian Fiction: An Annotated Bibliography. Ed. Margery Fee and Ruth Cawker. Toronto: Peter Martin, 1976, pp. 28-29, 128,133, 135, 136, 137, 138, 140, 142, 143, 144, 145, 147, 148, 149, 150, 151, 153, 156. Fee and Cawker give short, descriptive annotations of sixteen of Callaghan's works, including an audiotape of his short stories, plus four works of criticism about him. Among other things, the annotations note that "the alienation of the hero and the spare style" of Strange Fugitive" are reminiscent of Camus's L'Etranger,'" while Morley Callaghan's Stories reveal his talent for "quickly developing convincing characters and situations." Callaghan's novels are also listed under various headings in the volume's "Subject Guide," pages 127-45, while reprints of his short stories are noted in the annotations of several anthologies, pages 147-56. It should be pointed out that the Robert Weaver volume, listed in the critical works about Callaghan, was never published.
C376 Cluett, Robert. Prose Style and Critical Reading. Preface John Stedmond. New York: Teacher's College, 1976, pp. 141, 142, 149, 152, 154, 165, 166, 169, 291. A computer inventory of the characteristics of English prose between Philip Sidney and Anthony Burgess; Chapter vii, "Style in the Afternoon: Hemingway at Mid-Career," concerns us here. Although the focus is on Hemingway and a comparison of random samples of Death in the Afternoon with the work of his contemporaries (including Orwell, Stein, Fitzgerald, Richler, James, and others), the chapter contains some interesting comments about Callaghan's style. Chief among them is the observation that he is "the most verb-rich writer of [the] group," and that the descriptive adverb dominates his usage. The Callaghan samples are drawn from his early fiction, Strange Fugitive and A Natwe Argosy. Includes tables and figures illustrating the computer findings.
C377 Kendle, Judith. "Spiritual Tiredness and Dryness of the Imagination: Social Criticism in the Novels of Morley Callaghan." Journal of Canadian Fiction, No. 16 (1976), pp. 115-30. Suggests that the social criticism discernible in Callaghan's novels "derives more at times from strong feelings of artistic alienation than from purely intellectual differences with the national ethos." Includes a detailed analysis of More Joy in Heaven, The Loved and the Lost, and The Many Colored Coat. (See C538 for the thesis from which this article derives.)
C378 Grove, Frederick Philip. The Letters of Frederick Phtlllp Grove. Ed. Desmond Pacey. Toronto: Univ. of Toronto Press, 1976, pp. 241, 242n-43n., 326, 383, 385n-86n. Passing references to Callaghan's novel, Strange Fugitive, and Grove's reply to Callaghan's article, "The Plight of Canadian Fiction" (B192) in letters dated 15 February 1929, II, and 12 March 1938. In a letter dated 1 April 1940 Grove also complains that "people like Callaghan or de la Roche have gone out of their way not to meet [him]." (See C103 for Grove's reply to the Callaghan article.)
C379 Seymour-Smith, Martin. "Callaghan, Morley (1903)." Who's Who in Twentieth Century Litetature. 1976. A brief, positive assessment which suggests that Callaghan's "fictional work has not received the international attention it deserves." Indeed, Seymour-Smith places the author in "the difficult and important modern Catholic tradition" and suggests that he is in the class of Graham Greene. Edmund Wilson's comparison of him to Dostoevsky, is "not far-fetched" (C199), and his Canadian backgrounds "in no way" distract the non-Canadian reader.
C380 Darling, Michael E. "Callaghan and His Critics." Rev. of Morley Callaghan, ed. Brandon Conron; and A Fine and Private Place, by Morley Callaghan. Essays on Canadian Wrtttng, No. 4 (Spring 1976), pp. 56-60. Darling accuses Conron of adulation in his choice of mainly positive assessments of Callaghan's work and praises the author's novel with reservations--"the book has one particular quality that characterizes all of [Callaghan's] work: a fine subtlety in the description of detail that creates little epiphanies throughout . . . ." Because of this, he "deserves to be recognized as one of the greatest of our living writers."
C381 Overbury, Stephen. "A Very Private Man: A Very Public Ego." Weekend Magazine [Winnipeg Free Press], 27 March 1976, pp. 18-20. Rpt. in Canada from the Newsstands: A Selection from the Best Canadian Journalism of the Past Thirty Years. Ed. Val Clery. Toronto: Macmillan, 1978, pp. 258-63. An unsympathetic but discerning profile, based on two interviews with Callaghan, which suggests that he is uncertain "of achieving greatness, or perhaps of achieving recognition of his greatness." Callaghan comments on the fact "that most men live their lives by pretending to believe in something they secretly know isn't true," and the need for "vitality of awareness" in a good book.
C383 "Leisure Time." Peterborough Examiner, 24 July 1976, p. I. A one-paragraph announcement of the Peterborough Summer Theatre's "final 3 weeks." Callaghan's Season of the Witch is "a gripping play" and all of the season's dramatic offerings have been well received.
C384 F[ulford]., R[obert]. "Marvel as Writers Display Real Bile, Guile, and Scabrous Outrage under the Guise of Darkest Fiction." Saturday Night, Nov. 1976, pp. 38-39. A brief survey of Canadian, and other, practitioners of the roman a clef. Callaghan is "probably the most expert Canadian practitioner" and Fulford lists his attempts at the genre. Callaghan himself has been the subject of a short story in the roman a clef mode -- Hugh Hood's "Where the Myth Touches Us" (C600).
C385 Scholastic Scope, 4 Nov. 1976, pp. I, 2-8, 11-13, 23-25. "A major part of this issue is devoted to the works of Canadian writer, Morley Callaghan." Includes information about his life and writing in "This Week in Scope"; the teleplay by W. W. Lewis, adapted from Luke Baldwin's Vow by Morley Callaghan, entitled "Big Henry and the Polka Dot Kid" (C594); and the short story, "All the Years of Her Life." The Teacher's Edition of the same issue includes a teaching guide for the teleplay and story.
C386 Marshall, Tom. "Tragic Ambivalence: The Novels of Morley Callaghan" The Umversity of Windsor Review, 12 (Fall-Winter 1976), 33-48. A personal reading of all the novels from Such Is My Beloved on, which stresses their ambiguities and complexities. "A religious novelist in naturalistic garb," Callaghan is "struggling to reconcile, or at least hold in meaningful balance . . . the perspectives of Hemingway, Freud, Marx, Dostoevsky and Maritain (among others)." His "finest novel and a major achievement by any standard" is A Passion in Rome.
C387 "Callaghan, Morley (1903- )." In Literary Writings in America: A Bibliography. Vol. II. Mallwood, N.Y.: KTO, 1977, 1744-45. The above bibliography (in eight volumes) is the first publication in book form of a massive card catalogue index begun at the University of Pennsylvania in 1938 and financed by the American government. The Callaghan entry lists novels, short story collections, individual short stories, and reviews of Callaghan's work published in the United States during the period 1927-39.
C388 Donaldson, Scott. By Force of Will: The Life and Art of Ernest Hemingway. New York: Viking, 1977, pp. 2, 64, 68, 196, 214, 220, 248, 267, 270. Callaghan is frequently used as a source. The book includes a brief recapitulation of the Hemingway-Callaghan boxing match in the chapter on Hemingway and sport. Donaldson follows Callaghan's account.
C389 Moss, John. Sex and Violence in the Canadian Novel: The Ancestral Present. Toronto: McClelland and Stewart, 1977, pp. 23, 28, 234. Although Callaghan is peripheral to this study, Moss briefly notes that in his early work, he reveals "a fascination with not only the moral but the spiritual implications of violence." In The Loved and The Lost, Callaghan presents love as "a form of bondage" and death as "a terrible freedom." The latter novel is also concerned with the fate of innocence "without moral discretion reformed by transcendent authority."
C390 Sutherland, Ronald. The New Hero: Essays in Comparative Quebec/Canadian Literature. Toronto: Macmillan, 1977, pp. 4, 13, 27, 53, 94. Callaghan's protagonists (along with those of Hugh MacLennan, Margaret Laurence, F. P. Grove, Sinclair Ross, Andre Langevin, and Hubert Aquin) are examples of the "old hero" or "loser" prevalent in Canadian fiction prior to 1970. Includes a brief recapitulation of "the pretre-manque syndrome," as manifested in Father Dowling (C290), as well as the judgement that Callaghan's work as a whole lies "outside the mainstream," as defined by Sutherland.
C391 Wilson, Edmund. Letters on Literature and Politics 1912-1972. Ed. Elena Wilson. New York: Farrar, Straus and Giroux, 1977, pp. 372, 388, 632-33, 634, 636, 682, 700. Includes six letters to Callaghan, plus passing references to Callaghan in letters to William K. Rose and Mary Meigs. The letters to Callaghan include one in praise of That Summer in Paris, "a classic memoir," and two describing Wilson's first reading of The Loved and the Lost, More Joy in Heaven, and They Shall Inherit the Earth.
C392 Woodcock, George. "Possessing the Land: Notes on Canadian Fiction." In The Canadian Imagination: Dimensions of a Literary Culture. Ed. David Staines. Cambridge, Mass.: Harvard Univ. Press, 1977, pp. 72, 83, 84, 87-88. A historical survey of Canadian fiction, which includes a brief treatment of Callaghan: "the Torontonian who chronicled the travails of people attempting to live with some meaning in the developing metropoles of eastern Canada" is one of "two men [who] stand far above their contemporaries" in the decades after 1918--the other is E P. Grove; "in terms of effective achievement [Callaghan is] a writer of the late twenties and thirties."
C393 French, William. "The Russians Discover Callaghan and They Love Him." The Globe and Mail, 14 June 1977, p. 16. Includes information about Russian, Ukrainian, Bulgarian, French, and Italian translations of Callaghan's work, plus the "possibility" of a Turkish translation of A Free and Private Place. Callaghan recounts the details of various visits from Russian officials and says they are pressing him for an advance look at his new novel, Close to the Sun Again, soon to be published by Macmillan.
C394 "No. 16 for Morley Callaghan." Saturday Night, July-Aug. 1977, p. 3. A brief note introducing the excerpt from Callaghan's Close to the Sun Again published in Saturday Night (see B117). "Callaghan is one of the very few modern Canadian writers who have managed to produce a sizeable body of serious work; he is also almost the only member of his generation of North American writers who has survived into the late 1970s, still writing, still commanding an attentive and admiring public."
C395 Adachi, Ken. "Venerable Morley Callaghan Keeps 'rising from my own ashes.'" Toronto Star, 24 Sept. 1977, p. D3. A sympathetic profile on Callaghan, based on an interview in the wake of publication of Close to the Sun Again. Includes a brief resume of "the ups and downs" of his career and stresses his "pugnacious vitality." Callaghan talks about his "politics" and claims his new novel is "completely different from anything [he's] written before."
C396 Waghorn, Kerry. Cartoon. "Long May the Old Swan Sing!". Books in Canada, Oct. 1977, p. [i]. A cover cartoon on the publication of Callaghan's novel, Close to the Sun Again (1977).
C397 Livingstone, David. "Morley Callaghan: The Party Was Paris." The Globe and Mail, 29 Oct. 1977, Advertising Supp., n. pag. A brief article on expatriate writers in Paris during the 1920s, designed as background information and advertising for the Mike McManus television interview with Callaghan (C571).
C398 Sutton, Joan. "I Want to Meet Morley." The Toronto Sun, 4 Nov. 1977, p. 43. Sutton expresses a desire to meet Callaghan in person after his television appearance on the OECA series, The Education of Mike McManus (C571). Includes excerpts from the author's comments on that occasion on love, life as a violin, the prodigal son, passion, saints, and arrogance.
C399 Chruscinski, Theresa. "Morley Callaghan: 50 Years a Writer." The Montreal Star, 19 Nov. 1977, p. DI. A brief profile, based on an interview, noting the fact that "this year's publication of Close to the Sun Again, marking Callaghan's 50th anniversary as a novelist-short story writer, has met with mixed reaction." Callaghan suggests that the reason for the mixed reaction is "because of the way the books end." He is "always on the side of justice" versus the law.
C400 Collins, Robert. "The Unsinkable Morley Callaghan." Reader's Digest [Canada], Dec. 1977, pp. 98-103. An account of Callaghan's literary career which emphasizes the spectacular beginning, the sojourn in Paris, and the critical pattern: "bouquets from abroad, brickbats at home." Collins includes an amusing anecdote about the investigation of Callaghan by a skeptical RCMP officer in the wake of a visit from a high-ranking Russian official. The visits, on two successive nights, were about literature. Includes two errors of fact.
C401 Wolfe, Morris. "Identity: The Three Ages of Cultural Nationalism." Saturday Night, Dec. 1977, pp. 24-25. A brief mention of Callaghan in a retrospective article on Saturday Night; an excerpt from critic Margaret Lawrence's comments on Callaghan in the July 1928 issue is reprinted, as is the drawing of the author in the same issue by Arthur Lismer (see C16).
C402 Birdsall, Peter, and Delores Broten. Mind War: Book Censorship in English Canada. Victoria, B.C.: CANLIT, 1978, p. 42. A historical survey of book censorship in English Canada since 1935 as reported in the print media. Birdsall includes a brief reference to the attempted censorship of Callaghan's Such Is My Beloved in 1971 (see C311).
C403 Bruccoli, Matthew J. Scott and Ernest: The Authority of Failure and the Authority of Success. New York: Random House, 1978, pp. xii, xiii, 5, 75, 87, 88-93, 104-07, 150. Bruccoli includes a brief mention of Callaghan in his "Chronology" and a detailed account of the Callaghan-Hemingway boxing match and its aftermath (based largely on Callaghan's That Summer in Paris) in his "documentary reconstruction" of the Fitzgerald-Hemingway relationship; he quotes from That Summer in Paris in length.
C404 Burgess, Anthony. Ernest Hemingway and His World. London: Thames and Hudson, 1978, pp. 45, 57. Burgess includes two brief references to the Hemingway-Callaghan boxing match and follows Callaghan's account of the affair in That Summer in Paris.
C405 Capone, Giovanna. Canada: il villagio della terra: letteratura canadese di lingua inglese. Bologna: Patron, 1978, pp. 24-25. A brief summary of Callaghan's career is included in Chapter l, "Una letteratura," Capone's historical overview of Canadian literature.
C406 Gajdusek, Robert E. Hemingway's Paris. New York: Scribners, 1978, pp. 119, 122, 123, 124, 116, 128, 136, 140-41. The volume is not a critical work, but an attempt to "evoke the milieu and the man" by means of a compendium of Hemingway's own writings, those of his contemporaries, and photographs. Includes eight excerpts from Callaghan's 'That Summer in Paris, including the latter's account of the infamous boxing match.
C407 Karsh, Yousuf. "Morley Callaghan." In his Karsh Canadians. Toronto: Univ. of Toronto Press, 1978, pp. 40-41, 183. Includes a photograph of Callaghan, dated 1943, a brief commentary by Karsh, and a biographical note: "The portrait, commissioned for a series in the Montreal Standard called Man of the Week, shows a vigorous, undaunted--although very sensitive--person with a touch of the impishness which has always illuminated his work and life."
C408 "Morley Edward Callaghan." In They Passed This Way -- A Selection of Citations 1878-1978. Ed. Robert N. Shervill. Foreword D. Carlton Williams. London: Univ. of Western Ontario Press, 1978, p. 152. Citation on the receipt of an honorary Doctor of Letters degree from the University of Western Ontario, 2 June 1965. Callaghan is described as "a superior and distinguished author."
C409 Mathews, Robin. "Morley Callaghan and the New Colonialism: The Supreme Individual in Traditionless Society." Studies in Canadian Literature, 3 (Winter 1978), 78-91. Rpt. (revised "Morley Callaghan: The New Colomalism") in Canadian Literature: Surrender or Revolution. By Robin Mathews. Ed. Gall Dexter. Toronto: Steel Rail, 1978, pp. 91-107. "The adoption of a highly questionable 'individualistic' morality [in novels such as Strange Fugitive and They Shall Inherit the Earth] takes Callaghan firmly into the New Colonialism. That move is reflected, moreover, in an unnecessary and structurally irrelevant shift to a U.S. place." The argument is buttressed by an examination of the facts of Callaghan's personal biography, his choice of setting, and theme.
C410 Kroetsch, Robert. "Contemporary Standards in the Canadian Novel." The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 16 Feb. 1978. Printed in Essays on Canadian Writing, No. 20 (Winter 1980-81), p. 8. Rpt. in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles Steele. Downsview, Ont.: ECW, 1982, p. 10. In a discussion of E R. Leavis' concern for "'moral preoccupation,'" Kroetsch notes that Callaghan "is a religious moralist" who transcends has own moral postures and "ventures into the realms of energy, myth, origin, contradiction."
C411 Sutherland, Ronald. "The Two Cultures in the Canadian Novel." The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 16 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, pp. 46, 54. Callaghan's The Loved and the Lost is listed under the general category "Image of the French-Canadian in English-Canadian Novels and Vice Versa" and is said to include a stereotyped image of a French-Canadian.
C412 Tallman, Warren. Panelist. The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 16 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, p. 39. In an account of the separation between cormmercial publishers and literary-minded authors, Tallman notes "... the eccentric authors became even more eccentric .... "He lists "looney Morley Callaghan (he created a small town in Toronto)" along with Hemingway, Sherwood Anderson, and William Faulkner.
C413 Keith, W. J. "The Thematic Approach to Canadian Fiction." The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 17 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, pp. 77, 79-81. In a discussion of critical misinterpretations caused by thematic criticism, Keith notes comments by John Moss, Margaret Atwood, and D. G. Jones on the prostitutes in Such Is My Beloved. They have all missed Callaghan's point because they have underestimated the value of Callaghan's language. Callaghan's continual reference to" 'the girls' "emphasizes that they are seen "in terms of their humanity." Callaghan "was certainly not being puritanically evasive in eschewing the direct terms." Callaghan's "study of the relation between eros and agape" is embodied in his language, "a language that provokes the questioning response but not the crude snigger." Keith also notes that "in his little book on Morley Callaghan" (C2), Victor Hoar "misses Callaghan's point" about the inextricable link between technique and theme by dividing his book, "simplistically, into two parts: I, The Technique, II, The Themes."
C414 Kreisel, Henry. Panelist. The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 17 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, p. 92. Kreisel responds to W. J. Keith's comments on Callaghan's use of language (C413) by pointing out that "in Toronto in 1942," the word "girl" could and did refer to prosntutes: "I just wanted to say that Callaghan wrote during that period and one would have to see how the term 'the girls' was used in the prim Torontonian atmosphere of the late thirties and forties. I suspect that some of the euphemism that is embodied in that term is in his book, but I would have to look at the text carefully."
C415 Watt, Frank. Panelist. The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 17 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, p. 125. In a discussion of regionalism, Watt notes that Callaghan could link Toronto and Montreal, because of the deracination and desensitization caused by the "obliteration of regional differences" in his work.
C416 Ross, Malcolm. "The Ballot." The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 18 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: LCW, 1982, pp. 139, 141, 151, 152, 153. Callaghan is listed among other novelists who have produced a number of well-accepted novels as proof that "we are no longer a nation of one-novel novelists." A Fine and Private Place is noted to be among those following the list of one hundred novels that were all "within just one or two points of each other, and in no significant way behind the last twenty on the list of one hundred." The Loved and the Lost was close to the first ten on the ballot. Callaghan's Such Is My Beloved, The Loved and the Lost, More Joy in Heaven, They Shall Inherit the Earth, and Close to the Sun Again are listed among the top one-hundred novels in the appended documents on the ballot. Six of his novels (the above five, plus A Free and Private Place) are listed in part C of the Appendix, the "Official Ballot for the Selection of Canadian Novels."
C417 French, William. "Italians Discover Irving Layton to Be a Poet 'forte di stomaco.'" The Globe and Mail, 22 Aug. 1978, p. 14. Brief mention of Callaghan (and several other Canadian authors) in an article explaining recent Italian interest in Canadian literature. The piece mentions the recent critical study by Professor Giovanna Capone (C405), and the fact that some of her students are supposedly preparing theses on Callaghan and others.
C418 McMullen, Lorraine. "Images of Women in Canadian Literature: The Movement Toward Androgyny in Modern Canadian Fiction." XIVth Congress of the International Federation of Modern Languages and Literatures, Aix-en-Provence, France. 28 Aug.-2 Sept. 1978. Printed (expanded) in Etudes canadiennes/Canadian Studies, No. 6 (juin 1979), pp. 130-31. McMullen perceives a movement toward androgyny "in much modern Canadian fiction" and documents her perception by means of analysis of the female protagonists of Martha Ostenso's Wild Geese, E P. Grove's The Master of the Mill, Ethel Wilson's Swamp Angel, Morley Callaghan's The Loved and the Lost, Constance Beresford-Howe's The Book of Eve, Margaret Atwood's Surfacing, and Margaret Laurence's The Diviners. Of Peggy Sanderson, McMullen observes that although "she is viewed from the outside throughout the novel" and "remains an elusive figure," she "sees and accepts an androgynous world in which these seeming opposites [the antithetical qualities symbolized by the leopard and the church] can be reconciled."
C419 Weaver, Robert. Editorial. The Tamarack Review, No. 75 (Fall 1978), pp. 5-7. "Our compliments to Dorothy Livesay and Morley Callaghan on this anniversary of the fiftieth year of publication of their first books." Includes favourable comments on Strange Fugitive, and No Man's Meat & The Enchanted Pimp.
C420 Miller, Jack. "Morley's Paris Summer Comes to Life on Radio." Toronto Star, 25 Sept. 1978, p. C4. Announcement and background information about CBC radio's two-hour dramatization of Callaghan's "That Summer in Paris" "on FM stereo (94.1) tonight at 9. 04" (C596). Includes a list of the stars.
C421 Orange, John. "Lines of Ascent: Hugh Hood's Place in Canadian Fiction." Essays on Canadian Writing, Nos. 13-14 (Winter-Spring 1978-79), pp. 119, 12O, 122, 123-26, 127. Rpt. in Before the Flood: Our Exagmination round His Factification for Incaminatlon of Hugh Hood's Work in Progress. Ed. J. R. (Tim) Struthers. Canadian Perspectives, No. 1. Downsview, Ont.: ECW, 1979, pp. 119, 120, 122, 123-26, 127. Read (excerpts). Hugh Hood Symposium, Stong College, York Univ., Downsvlew, Ont. 18-19 Oct. 1979. Orange points out several similarities (and many differences) between Hood and Callaghan in the course of this general consideration of Hood's place in Canadian fiction. Although "Callaghan is more a moralist than a metaphysician, and clearly Hood is much more interested in the language of philosophy than Callaghan is, "both writers have been influenced by the French philosopher, Jacques Maritain. There are also similarities in "prose style, tone, intention, and form."
C422 Struthers, J. R. (Tim). "An Interview with Hugh Hood." Essays on Canadian Writing, Nos. 13-14 (Winter-Spring 1978-79), pp. 25-26, 87n. Rpt. in Before the Flood: Our Exagmination round His Factification for Incaminatlon of Hugh Hood's Work in Progress. Ed. J. R. (Tim) Struthers. Canadian Perspectives, No. 1. Downsview, Ont.: ECW, 1979, pp. 25-26, 87n. Read (excerpts). Hugh Hood Symposium, Stong College, York Univ., Downsview, Ont. 18-19 Oct. 1979. Hugh Hood acknowledges "a long personal relationshlp with Morley Callaghan" during the course of this interview, but denies being influenced "as an artist." He also claims to have written a long critical essay (since destroyed) on Callaghan's work, entitled "Rose Symbolism in the Novels of Morley Callaghan."
C423 Dooley, D. J. "The Leopard and the Church: The Ambiguities of Morley Callaghan." In his Moral Vision in the Canadian Novel. Toronto: Clarke, Irwin, 1979, pp. 61-77. A detailed reading of The Loved and the Lost which raises more questions than it answers. In his "Conclusion," page 167, Dooley ultimately decides that Callaghan "is very convincing in creating a state of mental turmoil," but Peggy Sanderson is not "a believable person."
C424 Hardy, Forsyth. John Grierson: A Documentary Biography. London: Faber & Faber, 1979, pp. 115-16. Includes a brief description of Irving Jacoby's collaboration with Morley Callaghan on the film, Hot Ice.
C425 Tata, Sam. "The Plates by Sam Tata." Canadian Fictton Magazine, No. 29 (1979), pp. 24-25. A collection of photographs by Sam Tara, which includes a portrait of Callaghan, dated Montreal 1958, and an incomplete list of the litter's books.
C426 "The Authors Talk Back." Quill & Quire, Jan. 1979, p. 8. Callaghan and other Canadian writers give their opinions about reviewers. Callaghan observes, among other things, that reviews haven't changed since he was a boy and that author-baiting shouldn't be allowed.
C427 "The Canadian Precedents." Canadian Theatre Review, No. 22 (Spring 1979), p. 32. Excerpts from taped interviews with Oscar Ryan and Toby Ryan, members of the Progressive Arts Club and Worker's Experimental Theatre in Toronto during the 1930s; includes a passing reference to the fact that Callaghan, along with Garfield King and George Barnes Clarke, was a judge of a playwriting contest in 1936. The full interviews are available from the Ontario Provincial Archives in the Ontario Historical Studies Series.
C428 Kendle, Judith. "Callaghan and the Church." Canadian Literature, No. 80 (Spring 1979), pp. 13-22. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Wrtters. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 102-03. Kendle suggests that Callaghan's moral philosophy owes as much to aesthetic considerations as it does to Roman Catholic doctrine. Includes analysis of Such Is My Beloved, More Joy in Heaven, The Many Colored Coat, and A Passion in Rome. (See C538 for the thesis from which this article derives.)
C429 Cohen, Matt. "The Rise and Fall of Serious CanLit: The Golden Years May be Over." Saturday Night, May 1979, p. 40. In a discussion of the rise of publications in the 1970s, Cohen notes that "major writers long silent --Irene Baird, Adele Wiseman, Robertson Davies, Morley Callaghan- surfaced with new books, books so good that the silences seemed all the more regrettable."
C430 Reeves, John. "A Reeves Gallery: 2." Books in Canada, May 1979, p. II. A portrait of Callaghan, dated 1978, and a brief note is included in part II of "an annotated portfolio" of photographic portraits of Canadian literary figures. Reeves notes that both of Callaghan's sons are personal friends and that Callaghan had reminisced during the photo session about being photographed by Karsh many years before (C407).
C431 Boire, Gary A. "The Parable and the Priest." Canadian Literature, No. 81 (Summer 1979), pp. 154-62. Boire examines Callaghan's "use of the parable and the priest" in five stories, and Such Is My Beloved, and claims it is one of the principal means by which he explores the central issues of life.
C432 Boyd, Neil. "Still the Seine Old Story?". Books in Canada, June-July 1979, pp. 7-8. Only tangentially relevant: Boyd revisits the Paris of Callaghan's That Summer in Paris and concludes the city is no longer "'the one grand display window for international talent'" it was in the 1920s and the 1930s.
C433 Kendle, Judith. "Callaghan as Columnist, 1940-48." Canadtan Literature, No. 82 (Autumn 1979), pp. 6-20. A look at ninety-five magazine articles Callaghan wrote for New World [Toronto]. Kendle notes that the pieces have literary, biographical, and philosophical significance. Includes a complete list of the articles.
C434 French, William. "Callaghan's Revisions Pose Problem." The Globe and Mail, 16 Oct. 1979, p. 18. French spots the similarities between a story by Callaghan in the current issue of Exile, identified as an excerpt from The Stepping Stone, and the author's most recent novel, The Enchanted Pimp. He speculates about the meaning of the revisions and wryly notes that "unlike the auto industry, book publishers don't have a recall program." Includes information about Barry Callaghan, Morley's son, and Callaghan's continued participation in the CBC Radio program, Anthology.
C435 Fetherhng, Doug. "Anthology: The Secret Radio Programme That May Last Forever." Saturday Night, Nov. 1979, p. 70. "Callaghan is the novelist best known for appearing on mike .... He's a capable actor."
C436 Fitzgerald, F. Scott, and Zelda Fitzgerald. Correspondence of F. Scott Fztzgerald. Ed. Matthew J. Bruccoli and Margaret M. Duggan. With the Assistance of Susan Walker. New York: Random House, 1980, pp. 213, 234n., 355, 612. This collection supplements those published earlier by Turnbull (C221), Bryer and Kuehl (C301), and Bruccoli (C221), and includes three letters by F. Scott Fitzgerald and one by his wife, Zelda, containing passing references to Callaghan. In the earliest letter, dated "After 24 January 1928," Fitzgerald praises Callaghan: "I think he really has it--personahty, or whatever it is. One can't be sure yet and I doubt if he's as distinctive a figure as Ernest [Hemmgway] .... "The collection also includes a letter from Morley Callaghan to F. Scott Fitzgerald (B406).
C437 MacLennan, Hugh. "Fiction in Canada -- 1930 to 1980." In The Arts in Canada: The Last Ftfty Years. Ed. W. J. Keith and B.-Z. Shek. Toronto: Univ. of Toronto Press, 1980, pp. 29, 30, 31, 34. MacLennan mentions Callaghan briefly several times: he considers him to be the only novelist in 1930 "who had evolved out of the bush-league formulas" and regards The Loved and the Lost and The Many Colored Coat as "his finest novels."
C438 Miska, John, comp. Canadian Prose Wrttten in Engltsh 1833-1980: A Bibliography of Secondary Material. Canadian Literature Bibliographic Series, No. 2. Lethbridge, Alta.: Microform Biblios, 1980, n. pag. Books, articles, and theses about Callaghan (plus one article and a book by Callaghan himself) are listed in part IV of the bibhography, entitled "Individual Authors," in entries 997 to 1096. Miska includes one thesis and a few reviews not annotated here; the University of Western Ontario reports, however, that the thesis in question (by Marguerite Farris) was not completed. It should also be pointed out that the double entry for McDonald, Lawrence [sic.] T. R., (entries 1052 and 1053) is incorrect. This thesis (C548) was completed in 1977. The bibliography also includes cross-references to Callaghan in other books, articles, and theses.
C439 O'Connor, John. "Morley Callaghan." In Profiles in Canadian Literature. Ed. Jeffrey M. Heath. Vol. l. Toronto: Dundurn, 1980, 65-72. A brief essay describing the basic themes, techniques, and special characteristics of Callaghan's work. O'Connor divides the fiction into three periods: "apprenticeship and early success (1926-37); post-war revival (1948-63); and a current renewal of activity (1972-present)." He suggests that the author writes out of a sense of spiritual isolation and identifies the worlds of sports, law, and journalism, and the Christian humanism of Jacques Maritain as the principal influences upon Callaghan's work. Includes a chronology, comments by the author and other critics, and a bibliography of primary works and selected criticism.
C440 Reeves, John. "Literary Portraits." Canadian Fiction Magazine, Nos. 34-35 (198O), pp. [70, 72]. Reeves includes a portrait of Callaghan and a brief note about the author (page 72) in an annotated portfolio of twenty-seven Canadian literary photographic portraits. The photography, dated 1978, is different from the one published by Reeves in 1979 (C430), but the note is the same.
C441 Riedel, Walter. Das literarische Kanadabild: Eine Studie zur Reception kanadischer Literatur in deutscher ubersetzung. Bonn: Bouvier, 1980, p. 118. A study of the literary image of Canada as reflected in German translations of the work of Farley Mowat, Mazo de la Roche, Hugh MacLennan, Mordecai Richler, Margaret Laurence, et al. Riedel includes a list of German translations of stories by Morley Callaghan in an extensive bibliography.
C442 Conron, Brandon. "Morley Callaghan and His Audience." Journal of Canadian Studies/Revue d'etudes canadiennes, 15, No. I (Spring 1980), 3-7. Conron provides a survey of Callaghan's "mixed [critical] reception over the years," speculates about the reasons for his unpopularity in some quarters, and concludes that "there can be no final assessment yet of his place in Canadian or world literature."
C443 Ferris, Ina. "Morley Callaghan and the Exultant Self." Journal of Canadian Studies/Revue d'dtudes canadiennes, 15, No. I (Spring 1980), 13-17. Ferris argues that whereas Callaghan "is usually seen in one of three ways: as an explorer of social problems, a teller of Christian moral parables, or a creator of modern spiritual quests," "'the primary impulse of his narrative is an asocial, secular obsession with the assertion of the self." Such a view "casts a rather darker light on some of Callaghan's best-known endings," and accounts for his importance: "The hunched figure 'walking alone against the wind' is an essential part of the modern consciousness."
C444 Heintzman, Ralph. "Two Solitudes." Editorial. Journal of Canadian Studies/Revue d'etudes canadiennes, 15, No. I (Spring 1980), 1-2, 123-24. Heintzman's article is essentially an introduction to and commentary on the essays in the special Callaghan issue Journal of Canadian Studies. Callaghan is compared with Hugh MacLennan.
C445 Latham, David. "A Callaghan Log." Journal of Canadian Studies/Revue d'etudes canadiennes, 15, No. I (Spring 1980), 18-29. Although there are several errors in the citations, Latham provides a useful list in chronological order of selected events in Callaghan's life to 1979, including his book and periodical publications, the productions of his plays, and a checklist of selected books, articles, and theses on his work. The list of Callaghan's publications is incomplete. Includes some reviews not annotated here.
C446 Morley, Patricia. "Callaghan's Vision: Wholeness and the Individual." Journal of Canadian Studies/ Revue d'etudes canadiennes, 15, No. I (Spring 1980), 8-12. Morley enlarges on the three-period thesis put forward in her short book, Morley Callaghan (1978) (C6). Callaghan's emphasis on the individual "is set, throughout his entire writing career, within the context of a vision of wholeness."
C447 Vipond, M[ary]. "The Canadian Authors' Association in the 1920s: A Case Study in Cultural Nationalism." Journal of Canadian Studies/ Revue d'etudes canadiennes, 15, No. I (Spring 1980), 74, 75, 79n. Vipond lists Callaghan briefly as a critic of the Canadian Authors Association and quotes from his arncle, "Looking At Native Prose" (B180).
C448 Birney, Earle. "Canlittering with the Forum: 1936-42." The Canadian Forum, April 1980, pp. 9-10. Rpt. (revised, expanded -- "As I Remember 1938-39") in Spreading Time: Remarks on Canadian Writing and Writers: Book I. 1904-1949. By Earle Birney. Montreal: Vehicule, 1980, pp. 34, 37-38. Three brief mentions of Callaghan in Birney's recollections of his own work on behalf of The Canadian Forum. Among other things, Birney notes that Callaghan and Bertram Brooker helped him judge a "first national short story contest" in 1939, and that Callaghan and his wife, Loretto, were part of "a social group of a naturally shifting but always lively nature," composed of "Forum staff and their spouses, along with some Toronto contributors and supporters."
C449 Aaron, Daniel. "Morley Callaghan and the Great Depression." Callaghan Symposium, Univ. of Ottawa, Ottawa. 24-25 April 1980. Printed in The Callaghan Symposium. Ed. and introd. David Staines. Reappraisals: Canadian Writers Series. Ottawa: Univ. of Ottawa Press, 1981, pp. 23-35. Aaron compares Callaghan's treatment of social issues during the 1930s with that of several of his American contemporaries, notably Thornton Wilder and Nathaniel West. Such Is My Beloved, West's Miss Lonely Hearts, and Wilder's Heaven's My Destination are all "variations on the theme of the 'Holy Fool,'" and all deny "the possibility of achieving [saintliness] in an imperfect world." "Only in Callaghan's novel does the author successfully depersonalize himself and enter calmly and disinterestedly into his characters, the pleasant and the unpleasant alike."
C450 Cameron, Barry. "Rhetorical Tradition and the Ambiguity of Callaghan's Narrative Rhetoric." Callaghan Symposium, Univ. of Ottawa, Ottawa. 24-25 April 1980. Printed in The Callaghan Symposium. Ed. and introd. David Staines. Reappraisals: Canadian Writers Series. Ottawa: Univ. of Ottawa Press, 1981, pp. 67-76. Cameron assesses Callaghan's novel The Loved and the Lost in the light of "the established conventions of parable and figural typology" and concludes that "the moral efficacy of the novel is undermined" by the author's "deliberate rhetorical strategy of ambiguity": "The reader, for example, is unnecessarily told too often how to feel, how to interpret, how to judge." The article includes a theoretical discussion of the technical aspects of parable in the context of didactic literature in general.
C451 Conron, Brandon, David Helwig, Patricia Morley, and Donald Stephens. "The Achievement of Morley Callaghan." Panel Discussion. Moderator Glenn Clever. Callaghan Symposium, Univ. of Ottawa, Ottawa. 24-25 April 1980. Printed in The Callaghan Symposium. Ed. and introd. David Staines. Reappraisals: Canadian Writers Series. Ottawa: Univ. of Ottawa Press, 1981, pp. 95-107. Conron notes that "There really isn't any authoritative critic of Callaghan's writing." Instead, there are particularist criticisms of aspects of Callaghan's work. Conron says that the symposium bears out this conclusion and praises the papers given. He gives resumes and comments upon the Ellenwood, Morley, Cameron, and McDonald papers. Stephens finds Callaghan's "ironic vision" and "his preoccupation with. . . the Christian tradition as it refers to modern society" to be "important" features of the author's work. He goes on to assert that "the greatest of Callaghan's achievements is the simple fact that he is a good storyteller and he is at his best in his short stories." Helwig finds that most Callaghan criticism has "nothing to do with the books which [he] attemp[s], often futilely, to read" and argues that the author's early novels, "highly perceptive studies of psychotics," are his most rewarding. He dates the decline in Callaghan's talents from Such Is My Beloved and speculates that "pressure to be a successful Scribner's novelist" and the influence of Jacques Maritain may have plunged him into "moral confusion." Helwig regards the failure of critics to document "why" Callaghan writes as he does as symptomatic of a lack of "seriousness" in Canadian criticism. Questions from Morley and Conron to Helwig follow. Helwig suggests that comparisons of Callaghan and Hugh Garner might be "interesting," and sticks to his view that Callaghan only "realized" his first few books and lost intensity thereafter.
C452 Edel, Leon. "Literature and Journalism: The Visible Boundaries." Callaghan Symposium. Univ. of Ottawa, Ottawa. 24-25 April 1980. Printed in The Callaghan Symposium. Ed. and introd. David Staines. Reappraisals: Canadian Writers Series. Ottawa: Univ. of Ottawa Press, 1981, pp. 7-22. Edel paints a vivid picture of the Canadian newspaper world of the 1920s, including his own stint as a reporter for The Montreal Star, and suggests that journalism has left "a permanent imprint" upon Callaghan's work: his "city-room realism," choice of characters and vocabulary, and use of "media cliches," all reflect "the diluted cultural and also provincial world in which [he] first found himself." Callaghan should probably be compared "with James T. Farrell, perhaps Sherwood Anderson, and in some measure, John Dos Passos." The article includes two brief quotations concerning Callaghan from unpublished letters Edel wrote to his mother from Paris in July 1929.
C453 Ellenwood, Ray. "Morley Callaghan, Jacques Ferron, and the Dialectic of Good and Evil." Callaghan Symposium, Univ. of Ottawa, Ottawa. 24-25 April 1980. Printed in The Callaghan Symposium. Ed. and introd. David Staines. Reappraisals: Canadian Writers Series. Ottawa: Univ. of Ottawa Press, 1981, pp. 37-46. Ellenwood draws a number of thematic parallels between Callaghan and Jacques Ferron, while conceding that their "radically different artistic diections and two styles . . . are almost polar opposites." He attributes their common ground to a shared "tradition [to Catholicism] which antedates novelistic style and North American politics" and insists that "Callaghan has much more in common with Ferron than with Hemingway, and Ferron more in common with Callaghan than with Hubert Aquin."
C454 Godard, Barbara. "Across Fronners: Callaghan in French." Callaghan Symposium, Univ. of Ottawa, Ottawa. 24-25 April 1980. Printed in The Callaghan Symposium. Ed. and introd. David Staines. Reappraisals: Canadian Writers Series. Ottawa: Univ. of Ottawa Press, 1982, pp. 47-58. Godard examines three French-Canadian translations of Callaghan's works and concludes that he has not been as well served by his translators as he deserves: not only has "an inherently conservative" choice of texts somewhat distorted his reputation as a Catholic writer--"the hope he holds out for spiritual regeneration and action for the layman in They Shall Inherit the Earth [for example] has been ignored"--but also "stylistic changes" in the translations themselves have obscured "his position within North American modernism." The translations in question are Michelle Tisseyre's Telle est ma bien aimee (Such Is My Beloved) and Cet ete-la a Paris (That Summer in Paris), and Lucien Parizeau's Cette belle faim de vivre (A Passion in Rome).
C455 McDonald, Larry [Laurence]. "The Civilized Ego and Its Discontents: A New Approach to Callaghan." Callaghan Symposium, Univ. of Ottawa, Ottawa. 24-25 April 1980. Printed in The Callaghan Symposmm. Ed. and introd. David Staines. Reappraisals: Canadian Writers Series. Ottawa: Univ. of Ottawa Press, 1982, pp. 77-94. McDonald argues that "Callaghan criticism is mired in the slough of Christiain personalism" and that he is better approached through the "new 'sciences of man'": not only does his fiction of the late twenties and early thirties reflect his "immersion in the North American fascination with the theories of Darwin, Marx, and Freud," but "the terms according to which man and society are apprehended and analysed . . . are primarily those of psychology, biology, and economics." The article is a revision of McDonald's dissertation (C548) and emphasizes the revolutionary content of the early novellas and novels; Callaghan's post-war novels are said to be "a comfort, rather than a threat, to the status quo."
C456 Morley, Patricia. "Morley Callaghan: Magician and Illusionist." Callaghan Symposium, Univ. of Ottawa, Ottawa. 24-25 April 1980. Printed in The Callaghan Symposium. Ed. and Introd. David Staines. Reappraisals: Canadian Writers Series. Ottawa: Univ. of Ottawa Press, 1981, pp. 59-65. Morley explores the shift in emphasis in Callaghan's literary vision as reflected in the fiction of the seventies and notes that the recent work "points to one of Callaghan's basic analogues, the identification of the human being with works of art." The later work plays with such concepts as the illusion of reality, the reality of illusion, and the magic wrought by human imagination and art."
C457 McCormick, Marion. "Morley Callaghan: The 'Law of the Yoyo' Spins a Grand Old Man's Reputation." The Gazette [Montreal], 3 May 1980, p. 106. Report of the Callaghan Symposium held at the University of Ottawa on 24-25 April 1980 (C7). McCormick includes brief summaries of the papers by Leon Edel, Daniel Aaron, and Larry McDonald, the remarks of David Helwig, and a photograph of Callaghan and Edel at dinner.
C458 Marshall, Douglas. "In Our Good Books." Today Magazine, 9 Aug. 1980, p. 9. A profile of Macmillan editor and publisher, Douglas Gibson, and his attempts to preserve Macmillan's trade division after the April 1980 take-over by Gage. Callaghan, though cynical about the new arrangements, is quoted briefly: "Gibson is an honest editor."
C459 Kelly, M. T. Rev. of The Penguin Book of Canadian Short Stories, ed. Wayne Grady. The Globe and Mail, 13 Sept. 1980, p. E13. Kelly remembers Callaghan's "A Cap for Steve" from high school anthologies as "a tedious classroom parable" and doesn't know why it was included.
C460 Allen, Walter. The Short Story in English. Oxford: Clarendon, 1981, pp. 201-09. Allen discusses Callaghan in part one of Chapter v, "Duncan Campbell Scott, Callaghan." "Callaghan's case is an object lesson on how a new literature may come into being": "Chekhov is the source of [his] art," and "he could have profited little from his Canadian forebears," i.e., Duncan Campbell Scott. Allen includes brief discussions of "The Young Priest," "A Sack Call," and "A Cap for Steve.'"
C461 Bruccoli, Matthew J. Some Sort of Epic Grandeur: The Life of F. Scott Fitzgerald. New York: Harcourt Brace Jovanovich, 1981, pp. 283-84, 288-89, 293-94. Bruccoli includes a brief account (based largely on Callaghan's That Summer in Paris) of Fitzgerald's role in the Callaghan-Hemingway boxing match and "the delayed reaction" that occurred after incorrect reports of the episode appeared in American nespapers; Bruccoli disputes Callaghan's conviction that Fitzgerald's admiration for Hemingway was permanently ruined as a result of the affair. Bruccoli also quotes from an undated letter from Fitzgerald to Harold Ober, received 13 May 1930, in which Callaghan is mentioned in passing; the letter is published in full in both the Turnbull and Bruccoli collections (see C22).
C462 Cameron, Elspeth. Hugh MacLennan: A Writer's Life. Toronto: Univ. of Toronto Press, 1981, pp. 135-37, 184, 230, 241, 331-33,374. Cameron's biography of Hugh MacLennan includes scattered minor references to Callaghan, including the observation that Callaghan had achieved an internanonal reputation, at least in part, "by avoiding specific references to his Canadian settings." Callaghan's son, Barry, is noted to have written "one of the three most scathing reiews of Return of the Sphinx."
C463 Hancock, Geoff. "An Interview with John Metcalf." Canadian Fiction Magazine, No. 39 (1981), pp. 99, 109. Rpt. ("Communique: Interview with John Metcalf--February 16, 1981) in Kicking Against the Pricks. By John Metcalf. Downsview, Ont.: Ecw, 1982, pp. 2, 13. Metcalf refers to Callaghan twice in passing. He evidently regards him as one of those Canadian writers "who live on old reputations but. . . were never much good to begin with" and wonders: "Surely people don't read Morley Callaghan, do they? For pleasure?" He judges Callaghan's stories to be "sentimental, ill-written tales" and complains that Callaghan "was never able to leave the reader alone. He typically draws a sketch and then explains what it means." As far as Metcalf is concerned, "Callaghan may have known Hemingway but I can't see any evidence that he learned from him."
C464 Hemingway, Ernest. Ernest Hemingway: Selected Letters, 1927-1961. Ed. Carlos Baker. New York: Scribners, 1981, pp. 287, 274, 289-90, 299-300, 313, 316, 318, 327-29, 334, 348, 431, 468, 716-17. Callaghan is mentioned by Hemingway, often in passing, in seventeen letters, dated 1926-51, to Maxwell Perkins, F. Scott Fitzgerald, et al. Two letters are of special significance: in a letter to Ernest Walsh, editor of This Quarter, dated 2 January 1926, Hemingway claims Callaghan's story, "A Girl with Ambition," is better than his own story, "The Undefeated," and "as good as Dubliners"; while in a letter to Maxwell Perkins, dated 12 August 1930, he claims that his at-that-time unpublished story, "Up in Michigan," is "Morley's sourcebook." Hemingway's letter to Callaghan, dated 4 January 1930, blaming Pierre Loving for the false stories circulating about the Hemingway-Callaghan boxing match, is pubhshed here in full; the Hemingway letter is paraphrased in Callaghan's That Summer in Paris. For two completely different versions of the famous boxing match, see Hemingway's letters to Maxwell Perkins and Arthur Mizener, dated respectively 28 August 1929 and 4 January 1951.
C465 Jones, Joseph, and Johanna Jones. Canadian Fictton. Twayne's World Authors Series, No. 630. Boston: Twayne, 1981, pp. 57-61. Chapter iv, "Grove to Callaghan," includes an account of Callaghan's career as a novelist up to and including A Free and Private Place (1975). Callaghan's reputation as a short story writer is not discussed at any length. The volume as a whole is introductory in nature and heavily dependent on Canadian academic criticism.
C466 Mathews, Robin. "Callaghan, Joyce, and the Doctrine of Infallibility." Studies in Canadian Ltterature, 6 (1981), 286-93. A detailed comparison of Callaghan's Such Is My Beloved with James Joyce's story "Grace," in Dubliners. Both authors are concerned with what Callaghan, on the first page of his novel, calls "the inevitable separation between Christianity and the bourgeois world." Callaghan and Joyce reach similar conclusions about the doctrine of papal infallibility, and scholars might well look more closely at Joyce, therefore, "as a source and influence in matters of style and ironic form as well as... in matters of situation and character."
C467 Moss, John. A Reader's Guide to the Canadian Novel. Toronto: McClelland and Stewart, 1981, pp. xiii, 36-42, 92, 154, 278, 327-28, 352, 353,357, 358, 361, 362, 366, 369,374, 375, 377. Moss regards Callaghan as "a genuine fixture in the Canadian firmament" and includes annotations on four of his novels (Such Is My Beloved, They Shall Inherit the Earth, More Joy in Heaven, The Loved and the Lost) and on Luke Baldwin's Vow. He also includes Callaghan in his chronology, short list, and various listings of novels by category, theme, or place. Although Callaghan's "writing tends to seem naive to contemporary readers," Moss points out that his "intentional cosmopolitanism dominated the Canadian literary scene for more than a decade" in the thirties. They Shall Inherit the Earth is "arguably [his] best novel."
C468 Staines, David. Introduction. In The Callaghan Symposium. Ed. David Staines. Reappraisals: Canadian Writers Series. Ottawa: Univ. of Ottawa Press, 1981, pp. 1-5. Staines comments briefly on the curious impact of Edmund Wilson's views (C199) on Callaghan criticism, and "the formative influence Callaghan has played in the development of Canadian fiction," and concludes that "no Canadian writer is more deserving of reappraisal...." He includes brief descriptions of the panel discussion and papers dehvered at the symposium (C449-C456).
C469 Woodcock, George. Taking It to the Letter. Montreal: Quadrant, 1981, pp. 25, 46, 110, 111. Woodcock's letters, covering the period 1962-81, contain five minor references to Callaghan, some of them unflattering: although he regards Callaghan as one of the three best short story writers in Canada (along with Margaret Laurence and Dave Godfrey), he suggests that "his bathwater ran out thirty years ago" and complains of his "arrogance dressed up as humility."
C470 O'Connor, John J. "Fraternal Twins: The Impact of Jacques Maritain on Callaghan and Charbonneau." Mosaic, 14, No. 2 (Spring 1981), 145-63. A detailed comparison of Callaghan's They Shall Inherit the Earth (1935) with Robert Charbonneau's Ils possederont la terre (1941), in which O'Connor reasserts, in somewhat muted terms, the mutual indebtedness of both authors to the French philosopher, Jacques Maritain (see O'Connor's thesis, C53z): "Maritain's influence is evident in both novelists' analysis of the dominant social and political issues of the 1930s," and in their solutions. "Ils possederont la terre defines in negative terms what They Shall Inherit the Earth illustrates positively."
C471 Boback, E. L. "Seeking 'Direct, Honest Realism': The Canadian Novel of the 1920's." Canadian Literature, No. 89 (Summer 1981), pp. 84, 97, 99, 100. A historical treatment of the slow growth of Realism in Canada in the twenties, in which Boback suggests that "... the significance of the publication of Strange Fugitive in 1928 cannot be over-estimated. When the book is viewed against the background of the sunshine novels, the romances, and the imperfectly realized realistic works of the period, Callaghan's innovativeness is startling."
C472 MacLulich, T. D. "Colloquial Style and the Tory Mode." Canadian Literature, No. 89 (Summer 1981), pp. 7, 8, 10, 11, 13, 17-18, 19. Examining the work done by the group of writers who came to maturity between the two Great Wars, MacLulich argues that "the stylistic norm in Canadian fiction has been . . . the 'Tory Mode' " as opposed to the vernacular, and that Morley Callaghan, Hugh Garner, and Mordecai Rlchler "have always been stylistic odd-men-out." Although "the colloquial style is far from being [a] limited medium," writers such as Hugh MacLennan and Robertson Davies have delierately eschewed it, their stylistic choice being a "reflection of a larger ideological commitment to conservative values." Includes a brief analysis of Callaghan's first published story, "A Girl with Ambition."
C473 Bartlett, Donald R. "Callaghan's 'Troubled (and Troubling)' Heroines." University of Windsor Review, 16 (Fall-Winter 1981), 60-72. Bartlett takes issue with critics such as Edmund Wilson, Isabel McKenna, and George Woodcock in order to suggest that, far from being either martyrs, saints, floozies, or types, "most of Callaghan's heroines" are "quite complex": "all of them [in particular, Marion Gibbons, Peggy Sanderson, Carla Caneli, Lisa Tolen, and Gina Baxter] possess an honour that is rooted in dishonour," and their "personalities and roles, intrinsic to theme, plot, and the protagonists' epiphanies, help to elevate the novels above psychology and sociology into the tradition of tragic literature." The article includes detailed analysis of A Broken Journey, The Loved and the Lost, A Passion in Rome, A Fine and Private Place, and Close to the Sun Again.
C474 Belov, S. "posleslovie." In Morli Kallagan: Radost' na nebesakh; Tikhii ugolok; I snova k solntsu. By Morley Callaghan. Trans. N. Bat, I. Arkhangelskaya, and I. Guriva. Moscow: Raduga, 1982, pp. 505-23. This Afterword to the Russian collection of three of Callaghan's novels in translation (More Joy in Heaven, A Free and Private Place, and Close to the Sun Again) includes some discussion of Callaghan's career, plot summaries, and commentary on the novels. Belov takes issue with Edmund Wilson's assertion that Callaghan has been neglected (C199) and suggests instead that his career reflects the development of Canadian literature in general during the twentieth century. He defines the themes of all three novels in terms of Social Realism and argues, that, although Callaghan has a social conscience and criticizes the weaknesses of individualism, rationalism, and pragmatism, he does not know how to bring about changes in bourgeois society. Psychological insight is occasionally sacrificed to the exigencies of allegorical form. Belov also points out that Callaghan and Hemingway had "different goals" and identifies Sherwood Anderson as the principal influence upon Callaghan's work.
C475 Cude, Wilf. "Morley Callaghan's Practical Monsters: Downhill from Where and When?". In Modern Times: A Critical Anthology. Vol. III of The Canadian Novel. Ed. and introd. John Moss. Toronto: NC, 1982, pp. 69-78. Cude argues that the question, "Downhill from where and when?" posed to himself by Ira Groome in Callaghan's novel Close to the Sun Again (1977), "is a question that informs, not only this retrospective and summational book, but also the entire body of Callaghan's work." Groome is "a monster of practicality," who has turned his back on his emotions, and it is this "dichotomy between reason and emotion" that Callaghan "has probed ceaselessly, on one form or another, over the course of his lengthy career." The dichotomy (and the question) is posed "with the greatest clarity and force" in Luke Baldwin's Vow (1948). Here, Luke, the youthful "innocent," must choose between "emotion and intuition" as against the "'practical proposition'" that he opts for at the novel's close; he "has moved," Cude argues, "further into the world of the practical man-- the world, that, in Callaghan's view, produces moral monsters." Cude points out that Ira Groome's choice (as well as the imagery surrounding it) in Close to the Sun Again is similar, and says that "Nowhere in Callaghan's writing is this complex of themes entwined in a more accomplished manner than in the short story, 'Getting on in the World.'" Cude insists, moreover, that "... the story is fairly ranked as an achievement with Anton Chekhov's 'At Sea--A Sailor's Story.'" Although he ultimately retreats from wholehearted endorsation of "Edmund Wilson's still controversial dictum" that Callaghan's work may be compared "without absurdity" with Chekhov's (see C199), Cude argues that "Callaghan's themes are of continuing interest in a materialistic world" and that "... his execution of those themes across the full range of his writing should therefore be considered with care, in order to determine exactly what extent he might be reckoned a figure of world literature."
C476 Donnell, David. Hemingway in Toronto: A Post-Modern Tribute. Windsor, Ont.: Black Moss, 1982, pp. 15, 33-34, 36, 37, 38, 52. Donnell mentions Callaghan several times in passing, but there is no extended treatment of his work. He notes that Hemingway met Callaghan in 1923 during his second time at the Toronto Daily Star and occasionally refers to Callagban's That Summer in Paris: Memories of Tangled Friendships with Hemingway, Fitzgerald and Some Others as a source. Donnell claims that "... the relationship with Morley Callaghan, the work at the Star, the conversations, friends, and Toronto left its mark on [Hemingway]."
C477 French, William. "Once Upon a Time ...." The Review, No. 2 (1982), pp. 19, 20. French refers to Callaghan briefly several tames in his "short history of the short story." He notes that "Morley Callaghan's emergence in the late 1920. . .signaled a major turning point in English-Canadian fiction, lifting it for the first time out of its parochial setting." Callaghan was also "the first Canadian writer" to deal with urban man.
C478 Metcalf, John. "Editing the Best." In his Kicking Against the Pricks. Downsview, Ont.: Ecw, 1982, pp. 145, 146, 147, 150. Metcalf mentions Callaghan briefly several times in his essay. Callaghan strikes him as "an extremely clumsy writer": "I was not charmed by the obtrusive didacticism of the novels nor by their cardboard characters. The stories, which were accounted better than the novels, seemed to me even worse. They were badly written and mawkish. The language was plodding. I was offended all the time by Callaghan's telling me what every damn thing meant; he was unable to leave the reader alone." Metcalf also complains about the "copper-clad" reputations, "like vast CN hotels," enjoyed by writers such as Hugh MacLennan, Morley Callaghan, Hugh Garner, Sinclair Ross, and W. O. Mitchell.
C479 Moss, John. Introduction. In Modern Times: A Critical Anthology. Vol. III of The Canadian Novel. Ed. John Moss. Toronto: NC, 1982, pp. 7-8, 10, 11, 12, 14. Moss wonders "To what period in our literary development do we assign the novels of Morley Callaghan, whose canon extends through seven decades?" He ultimately decides that "... the conventions of modernism are devoutly upheld by the fictions of Callaghan, MacLennan, and Wilson, and in the major works of Buckler and Ross. . . Grove published nine novels, and Callaghan, MacLennan, Wilson and Mitchell are similarly celebrated for the variety of their achievements." Although "Callaghan's principal meter has been the short story," his novels, "when taken together. . .are of major significance ....A Callaghan novel does not suffer analysis gladly: any attempt to see what makes it work either reduces it to parable or inflates it into myth ....W. O. Mitchell is popular, although MacLennan remains our most celebrated novelist and Callaghan our most enduring."
C480 Reeves, John. "Morley Callaghan." In Modern Times: A Critical Anthology. Vol. III of The Canadian Novel. Ed. and introd. John Moss. Toronto: NC, 1982, p. [67]. A full-page photograph of Morley Callaghan, which precedes the article by Wilf Cude (C475).
C481 Thomas, Clara, and John Lennox. William Arthur Deacon: A Canadian Literary Life. Toronto: Univ. of Toronto Press, 1982, pp. 42, 43, 91, 157-58, 205, 332n. Callaghan is mentioned briefly in the Deacon biography several times: as a reviewer, along with Raymond Knister, for Saturday Night; as someone whom Knister would like to meet; and as the leader of a round-table discussion on the short story for the Canadian Authors Association in 1946. The biographers also quote from three of Deacon's letters to Callaghan concerning the latter's novels A Broken Journey, Such Is My Beloved, and They Shall Inherit the Earth. The letters in question are dated respectively 14 September 1932, 20 February 1934, and 10 September 1935.
C482 Woodcock, George. Northern Spring: The Flowering of Canadian Literature in English [pamphlet]. Introd. Victor Howard. Images of du/Canada, No. I. Washington, D.C.: Canadian Embassy, 1982, p. 4. Callaghan, Grove's "urban counterpart," "accepted the lessons of an undecorated prose learned from his friend Ernest Hemingway...." His 1930s novels "read like laconic moralist parables."
C483 Zhongwen, Huang. "Moli Kalahan Duanpian Xiaoshuo Ji Pingjie." Dangdai Waiguo Wenxue [Nanjing], No. I (1982), pp. 39-41. A brief article accompanying the Chinese translations of two of Callaghan's stories (see B41 and B89); Zhongwen evaluates and introduces the collection, Morley Callaghan's Stories (1959). The author includes biographical details and divides the stories in the collection into three groups: those written between 1924 and 1929, 1929 and 1936, and 1936 and 1952; those stories published during the 1930s are said to be among Callaghan's best. Callaghan is described as "a Toronto Leftist" who pursued the goals of peace, righteousness, and friendship through Christian humanism. Although Callaghan is said to have ignored the problems of the wealthy and is something of an individualist and a loner himself, Zhongwen points out that his subjects were, for the most part, the ordinary people of the lower or lower-middle classes in capitalist society and that he has echoed their opinions and needs.
C484 Gamester, George. "Toronto Celebrities Reveal Sports Fantasies and Fetishes." Toronto Star, 9 Jan. 1982, p. D3. Callaghan's fantasy: "To tell you the truth, I'd rather be a great writer for $6,000 a year than a great athlete for $600,00 a year. But... I suppose I'd be a top pitcher like Nolan Ryan or Fernando Valenzuela." "Facts: Callaghan was a star in senior ball around Toronto in the early 1920s."
C485 Kelly, M. T. "Memoirs of the Canliteratus." The Globe and Mail, 26 June 1982, Sec. Entertainment, p. 3. A profile based on a personal interview. Callaghan's "'dream of youth'" has not altered over the years. "His stories haven't died, and neither have a few hard-to-kill legends about him." Callaghan's relationship with Hemingway and the boxing match is discussed. Hemingway "'never did a thing to me until the quarrel about the fight. He was a wonderful guy . . . because he was crazy about writing.'" Although Callaghan's list of literary friends is extensive, his only friend among Irish writers was James Joyce, though he did meet others. "Now That April's Here" was written "'because I didn't like the way Buffy [John Glassco] and Graeme (Taylor) snickered at Bob McAlmon, who was their 'benefactor.' "
C486 "Callaghan Named to Order of Canada." Toronto Star, 24 Dec. 1982, p. A13. This brief article announces that "author-playwright Morley Callaghan, Canada's ambassador to the United States, Allan Gotlieb, and singer Bruce Cockburn are among 63 Canadians who will be appointed to the Order of Canada next spring by Governor-General Ed Schreyer." The names of some of the other appointees are also included.
C487 "Morley Callaghan: Novelist among 3 Awarded Top Honours." The Globe and Mail, 24 Dec. 1982, pp. 1,8. "Toronto novelist Morley Callaghan who turned down an appointment as an Officer of the Order of Canada 10 [slc] years ago, has been appointed one of three Companions of the Order for 1982, the country's highest honor. The Officer rank is the second tier of the Order, and Mr. Callaghan said in i972 [sic] that he felt he should not 'endorse someone else's second-class opinion' of his work [see C258]. The other two Companions appointed by Governor-General Edward Schreyer are Gerald Emmett Cardinal Carter of Toronto, who heads the largest English-speakmg Roman Catholic diocese in Canada, and Camille A. Dagenais, chairman of the board of the SNC group." The article explains the credentials and contributions of twenty newly appointed Officers and forty newly appointed Members of the Order and includes a photograph of Callaghan and several others.
C488 "Order of Canada Awarded." Winnipeg Sun, 27 Dec. 1982, p. 3. This brief article announces that "Canada's top skier, two novelists, a rock singer, an artist and a cardinal were among 63 people appointed Friday to the Order of Canada, the nation's highest honor." The article notes that Callaghan "turned down an appointment as an officer of the order 10 [sic] years ago" and includes the names and credentials of several other appointees.
C489 Fink, Howard, with Brian Morrison. Canadian National Theatre on the Air, 1925-1961: CBC-CRBC-CNR Radio Drama in English, a Descriptive Bibliography and Union List. Microfiche. "Toronto: Univ. of Toronto Press, 1983. This bibliography includes a listing of Callaghan's radio broadcasts among 8,000 English-language plays broadcast between 1925 and the end of the "golden age" of radio in 1961. It includes not only broadcast and bibliographical information on all productions, but the sound and paper holdings for each production, as well as a description of each of the 3,000 original Canadian plays broadcast. (See A29, C580, C581, and C584.)
C490 "CBC Planning Tribute for Novelist's Birthday." Toronto Star, 6 Jan. 1983, p. D3. "Morley Callaghan, the dean of Canadian novelists, will be 80 on Feb. 22 and to mark the occasion CBC-Radio's Anthology series, on which he is a regular contributor, will present a two-part tribute" (see C495 and C498).
C491 "Preview." Radio Guide, Feb. 1983, p. 25. A brief article advertising CBC Radio's birthday tribute to Morley Callaghan on 19 and 26 February (see C495 and C498). The article notes that Callaghan "has yet another novel coming out, According to Philo of Crete [sic] (Macmillan of Canada, fall 1983)" and claims that "... no one in Canadian letters deserves a tribute more than the man whom critic Edmund Wilson once termed 'the most unjustly neglected novelist in the English-speaklng world' " (C199).
C492. French, William. "Callaghan at 80: Brighter, Bolder." The Globe and Mail, 17 Feb. 1983, p. 23. French describes the birthday celebrations to be held "next Tuesday" in Callaghan's honour, including the two-part CBC Radio tribute to be broadcast on successive Saturdays (see C495 and C498) and hails the author's new novel, A Time for Judas.
C493 Adachi, Ken. "Morley Callaghan: The View from 80." Toronto Star, 19 Feb. 1983, p. F3. Profile on Callaghan based on an interview conducted "on the brink of his 80th birthday." Callaghan is described as a "roly-poly balding man of boyish heart," whose anecdotes blend "nostalgia, self-concern, spleen, honesty and wit. Callaghan complains bitterly about University of Toronto English professor Elspeth Cameron's 1980 biography of Hugh MacLennan: "I fell out of my chair when I heard her saying on CBC TV last month that the modern Canadian novel started with MacLennan. What about my books? . . . Cameron asked me if she could write a biography of me but, oh no, I wouldn't let her; she obviously doesn't understand my work."
C494 "Callaghan Shuns Age, Celebrates New Book." Winnipeg Free Press, 19 Feb. 1983, p. 20. This brief article announces that "Writer Morley Callaghan turns 80 Tuesday and says he feels terrible about it. But he has consented to a party on grounds he'll celebrate his new novel rather than his age."
C495 "A Profile of Morley Callaghan." Host Patrick Watson. Exec. prod. Robert Weaver. Prod. Eithne Black. Anthology. CBC Radio, 19 Feb. 1983. (50 min.) Part I of a two-part profile in honour of Callaghan's eightieth birthday on 33 February 1983. Brief comments are included, by way of introduction, from a variety of Canadian, American, and British writers, editors, publishers, and friends, including Dink Carroll, Walter Allen, and William Ronald, plus lengthier interviews with Jack McClelland, Douglas Gibson, Brandon Conron, Brendan Gill, Alfred Kazin, Barry Callaghan, Haille Thomas, Alice Munro, and Callaghan himself. He also reads "A Predicament" (B427).
C496 Cherry, Zena, "Dinner for Author Marks 80th Birthday." The Globe and Mail, 23 Feb. 1983, p. 10. Cherry notes the "Celebratory Supper" held "last evening" in Toronto to mark Callaghan's "80th birthday and the completion of his 12th novel, A Time for Judas, to be published this fall": "Mr. and Mrs. Callaghan arrived in a white limosine and were applauded by guests as cameras from the CBC'S The Journal recorded the event." The names of hosts, and restaurant, and details about the guest list, gift, program, and menu are included.
C497 Photograph. Toronto Star, 23 Feb. 1983, p. BI. Photograph captioned "This winter in Toronto": "Novelist (and former pugilist) Morley Callaghan arrives with [sic] his wife Loretto at a Yorkville restaurant last night for a gala champagne dinner to celebrate his 80th birthday." Includes a guest list.
C498 "A Profile of Morley Callaghan." Host Patrick Watson. Exec. prod. Robert Weaver. Prod. Eithnie Black. Anthology. CBC Radio, 26 Feb. 1983. (5o min.) Part II of a two-part profile in honour of Callaghan's eightieth birthday on 22 February 1983. The piece includes surprise telephone calls to the author from long-time friends Jack Kent Cooke and Dink Carroll, plus miscellaneous comments and tributes by Paul Martin, Al Purdy, William Ronald, Jack McClelland, and Callaghan's son, Barry.
C499 Levine, Norman. "Old Acquaintance." Books in Canada, March 1983, pp. 9-11. Levine recounts his early acquaintance with Callaghan and their reunion in the spring of 1981. Levine notes that Callaghan "is a good listener. And he speaks well. There is an economy of words. He doesn't gush. Nor does he start asking too many questions. . .as if to say, it will all come out in its own time. You can sense the warmth, the courtesy in the man. But also the mental toughness, and the scepticism."
C500 Reeves, John. Photograph. "Callaghan at 80." Books in Canada, March 1983, p. [I]. A cover photograph on the occasion of Callaghan's eightieth birthday.
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Theses and dissertations
Kendle, Judith (compiler)
C501 Clark, Margaret L. "American Influences on the Canadian Novel." M.A. Thesis New Brunswick 1940. A historical survey with very little to say about either the nature or the extent of American influences on the Canadian novel. Callaghan is discussed briefly in Chapter vi, "Post-War Fiction," pages 84-103. The author mistakenly assumes Callaghan is living permanently in the United States.
C502 Thomas, Clara. "Canadian Novelists, 1920-1944." M.A. Thesis Western Ontario 1944. See C118 for a published version of this thesis.
C503 Keller, Ella Lorraine. "The Development of the Canadian Short Story." M.A. Thesis Saskatchewan 1950. Part of Chapter vi, "Ventures in Realism," pages 68-96, is devoted to a general treatment of Callaghan's characters, style, and themes.
C504 Magee, William Henry. "Trends in the English Canadian Novel in the Twentieth Century." Diss. Toronto 1950. Chapter vii, pages 226-62, is devoted to Callaghan and places him firmly in the American school of Naturalists such as Theodore Dreiser, Ernest Hemingway, and Erskine Caldwell. With his Toronto upbringing, his Roman Catholicism, and his penchant for American models, Callaghan is said to be "a rarity in Canadian fiction." Although he is at his best in the short story, and his first three novels are sombrely pessimistic, Such Is My Beloved is judged to be "a peculiarly Christian novel" and More Joy in Heaven his best work.
C505 Drolet, Gilbert. "A Critical Evaluation of the Contemporary Short Story." M.A. Thesis Montreal 1956. Chapter viii, "Callaghan the Artist," pages 93-104, includes biographical information about the author and a general discussion of seven of his stories. Although Drolet finds Callaghan's postwar novels disappointing, he regards him as "the finest" of Canada's short story writers. The thesis also examines the work of W. O. Mitchell.
C506 McCarvell, Joan. "Morley Callaghan as a Short Story Writer." M.A. Thesis Laval 1957. A general survey of theme, characterization, structure and symbolism, and aspects of style in Callaghan's first two collections of short stories. The storis may be divided into three main groups according to the heroes' success at controlling their own destiny and, while the author rates fairly high among contemporary writers, his work does not merit inclusion with "the Immortals."
C507 Passmore, Marion R. "A Study of the English-Canadian Novel since 1939." M.A. Thesis McGill 1957. The second chapter in "Part Two--The Urban Novel," pages 62-71, is devoted to Callaghan. While his first six novels are summarily dismissed, there is grudging praise for The Loved and the Lost (1951). The author is regarded as a member of "the lost generation" school of novelists, "a sentimental agnostic" who does not entirely escape Desmond Pacey's charge of "moral flabbiness."
C508 Watt, Frank William. "Radicalism in English-Canadian Literature since Confederation." Diss. Toronto 1957. A discussion of "The Dialectic of Radicalism in Two Novelists [Callaghan and Grove]" is included in the second part of Chapter ix, pages 300-29. Here Watt suggests that both novelists "take on a greater interest when seen as a part of the pattern of Canadian cultural history," rather than in purely aesthetic terms, and outlines the development in Callaghan's work (from Naturalism through Catholicism and radicalism to "personalism") that he develops elsewhere (C184).
C509 Ripley, John Daniel. "A Critical Study of the Novels and Short Stories of Morley Callaghan." M.A. Thesis New Brunswick 1959. This thesis is the source of the alleged Maritain influence on Callaghan's thought. Ripley also claims that Callaghan "ranks second among Canadian novelists and first among her short story writers." His novels are said to fall broadly into two classes, "the early naturalistic novels written under the influence of the American naturalists," and "the humanistic novels, written under the influence of the philosophy of Jacques Maritain." The latter are said to suffer from "an ambiguity of motivation which may result from following the French philosopher too closely." Ripley includes chapters on Callaghan's life, personality, and his "Canadianism."
C510 Sinclair, Nora R. "Social Criticism in the Canadian Novel, 1920-1945." M.A. Thesis Alberta 1959. Sinclair traces the development and merit of "the sociological novel" in Canada through the works of F. P. Grove, Gwethalyn Graham, Philip Child, Hugh MacLennan, Morley Callaghan, and other "minor contributors"; Chapter v, pages 84-104, is devoted to Callaghan. Although the author is regarded as primarily a religious novelist and hence something of an anomaly, the political, economic, and social content of his novels is discussed: They Shall Inherit the Earth 'is generally considered to be the best of the [first] six novels... [but] as a clear-cut psychological analysis and as a comprehensive portrayal of one social problem, More Joy in Heaven is better."
C511 Robinson, Catherine Patricia Marion. "Some Effects of Social Change on the English-Canadian Novel and Periodical Fiction, 1920-55." M.A. Thesis Western Ontario 1960. Robinson briefly analyses Such Is My Beloved in Chapter ii, "The Code of Respectability," pages 30-57, and They Shall Inherit the Earth and The Loved and the Lost in Chapter iii, "Proletarian Interests and Social Problems," pages 58-113. Callaghan "enlarges [the] Canadian myth of the country as good, as the refuge of modern man whose accustomed habitat is the cruel city .... "
C512 MacLeod, Alistair. "The Canadian Short Story in the 1930's, with Special Reference to Stories of Social Protest." M.A. Thesis New Brunswick 1961. A survey of the kinds of short stories published in Canada during the above decade in The Canadian Forum, Masses, New Frontier, Queen's Quarterly, and "other periodicals." MacLeod briefly comments on Callaghan in Chapter vi, "Collections of Short Stories," pages 142-58: Now That April's Here (1936) "stands in a classificatin of its own as the best collection of short stories published in Canada during the decade."
C513 Martineau, Francois. "Morley Callaghan as a Novelist." Diss. Montreal 1961. A general study of the author's novels and short stories, based on the assumption that Callaghan is "a contemporary writer... [who] did not get the recognition [he] deserved." Martineau discusses the themes, settings, social world, ethical and spiritual values of the work up to and including The Loved and the Lost. He includes a brief biographical sketch and a historical overview of Canada in the twenties. The bibliography lists over a hundred reviews.
C514 Fajardo, S. J. "Morley Callaghan's Novels and Short Stories." M.A. Thesis Montreal 1962. A chronological examination of Callaghan's work which divides it into "three main periods": Strange Fugitive, It's Never Over, and A Native Argosy mark the "beginnings" of his career; A Broken Journey, Such Is My Beloved, They Shall Inherit the Earth, Now That April's Here, and More Joy in Heaven constitute his "noonday"; while The Loved and the Lost, The Many Colored Coat, and A Passion in Rome represent his "latest work." Callaghan is said to have been at "the height of his popularity" in 1937, and at "the height of his craftsmanship" in More Joy in Heaven, while his "most significant novel" of that period was Such Is My Beloved. The bibliography is frequently unreliable.
C515 Gregoire, Victor. "The Priest as a Character in Fiction." M.A. Thesis Montreal 1962. Gregoire examines a variety of different priests in several novels in the light of pastoral theology; Chapter iv, "The Young Curates," pages 57-81, includes detailed analysis of Leon Morin, pretre (1952) by Beatrix Beck and Callaghan's Such Is My Beloved (1934). Although Gregoire concludes that no author gives a complete picture of the priesthood, he praises Father Dowling as "one of the finest [priestly] characters" in literature.
C516 Dupuis, Lores George. "The Spirituality of the Priest in Morley Edward Callaghan." M.A. Thesis Ottawa 1963. An examination of the "religious" writings of Morley Callaghan, in particular, his portrayal of Catholic clergy in Strange Fugitive, It's Never Over, A Broken Journey, Such Is My Beloved, and The Many Colored Coat. Dupuis concludes that Callaghan emphasizes the necessity of genuine spirituality and the commandment of love, as opposed to religious conventions, a fact which perhaps accounts for his relative unpopularity with the common reader. Pages 97-100, 103-05 are missing from the thesis.
C517 Gillotti, Albert Frederick. "The Importance of the Dream in the Life and Work of Morley Callaghan." M.A. Thesis North Carolina 1964. Gillotti suggests that the dream is "one of the dominant concerns not only of [Callaghan's] writing but also of his life." His characters become so obsessed, consciously or unconsciously, with "an elaborate fantasy world," that they are no longer able to distinguish between reality and the dream. When they come into contact with reality, they are frequently destroyed. John Hughes's controlling vision is "a dream of escape," Father Dowling's "a dream of universal love," Peggy Sanderson's "an unconscious dream of death," and Harry Lane's "a dream of innocence." Callaghan himself "may not have understood the basis for his preoccupation with dreaming until he came to evaluate the experience out of which he produced That Summer in Paris.'"
C518 Rogers, Amos Robert. "American Recognition of Canadian Authors Writing in English 1890-1960." 2 vols. Diss. Michigan 1964. Thesis prepared for the Department of Library Science; facsimile copies (Ann Arbor, Mich.: University Microfilms, x97z) held by the Reference Departments of many Canadian libraries. A systematic study of the extent to which Canadian writers of belles lettres have been recognized in the United States and of the types of recognition given. Chapter ix, "American Reviews of Works by Canadian Authors," includes a brief survey of Callaghan's critical reception in the United States, pages 100-08; "Callaghan was chosen to illustrate an interesting pattern of early popularity, fading from view, and recent revival." Material relevant to Callaghan studies is also included in the various checklists and appendices of the thesis; see especially Vol. I, App. iil, "Check List of American Editions and Reprints of Works by 278 Canadian Authors"; Vol. n, App. viii, "Poems, Short Stories, and Other Works of Belles Lettres Published in American Magazines"; and Vol. n, App. ix, "Book Reviews in American Periodicals 1890-1960."
C519 Heaton, Cherrill Paul. "The Great Sin: A Critical Study of Morley Callaghan's Novels." Diss. Florida State 1966. A detailed analysis and assessment of Callaghan's novels which attempts to show that he "deserves better treatment than he has received." Because of the bulk and quality of his work, he is truly a major author and "not just the best of a bad Canadian lot." The charge of "moral flabbiness" is refuted: Callaghan does have a coherent view of man; the "thematic thread" or "premise" running throughout the novels is "that man has possibilities on this earth which he is not achieving . . . [and] 'the great sin' is not making the most of one's possibilities as a man."
C520 Kilgallin, Anthony Raymond. "Toronto in Fiction, Poetry and Occasional Prose." Phil.M. Thesis Toronto 1966. In the chapter entitled, "The Thirties: Callaghan, Cabbagetown and social satire, 1928-1940," pages 113-54, Kilgallin briefly discusses the following works by Callaghan: Strange Fugitive, A Native Argosy, It's Never Over, A Broken Journey, Such Is My Beloved, They Shall Inherit the Earth, and More Joy in Heaven.
C521 Orange, John Charles. "Morley Callaghan's Catholic Conscience." M.A. Thesis Toronto 1966. An examination of the novels and short stories which suggests that, while Callaghan's "intellectual system" is tied to Christianity, the ethic he attempts to set down is based on feeling, and he seems to have relected "a strict dualism" as postulated by Jacques Maritain, Mallarme, and the Surrealists. While Such Is My Beloved reflects "an explicitly Christian pattern," They Shall Inherit the Earth "remains Catholic with a small 'c.'" A Passion in Rome is perhaps the author's "most explicit attempt" to fuse "life as it really is" with Christian symbolism without destroying the emphasis on the feeling of the Christian message.
C522 Spettigue, Douglas Odell. "The English-Canadian Novel: Some Attitudes and Themes in Relation to Form." Diss. Toronto 1966. An interpretation of certain thematic and formal elements in English-Canadian fiction from 1769-1960, in particular, "attitudes to the terrain. . . and their relation to the four forms of longer prose fiction differentiated by Northrop Frye." Chapters iv and v, pages 119-58 and 159-207 respectively, include brief discussions of Callaghan's work. Although Callaghan is an urban novelist, he uses landscape and climate symbollcally: "the terrain as threat seems to have influenced his use of the traditional oppositions of the natural world and the divine." The critic also suggests that Callaghan's work "never moves very far toward romance"; the intellectual element is not absorbed into confession.
C523 Arthur, Constance Joyce. "A Comparative Study of the Short Stories of Morley Callaghan and Hugh Garner." M.A. Thesis New Brunswick 1967. A general treatment of the settings and atmosphere, characterization, style and structure, themes and philosophies of both men. Whereas the "masculine, vigorous, and almost flamboyant quality of Garner's style" contrasts with the "flat and seemingly detached style" of Callaghan, both writers are shown to be following similar literary traditions, those estabhshed by the Naturalistic writers of the late nineteenth and early twentieth centuries. "Equal in skill or very nearly so," they seem to complement one another. In any case, the short stories of both writers are "by far the most satisfying part of [their] literary achievement."
C524 Gnarowski, Michael. "A Reference and Bibliographical Guide to the Study of English Canadian Literature. In Two Parts. Being an Annotated Guide to Bibliographies and Reference Materials Pertaining to English Canadian Letters with a Check List of Selected Titles in Enghsh Canadian Literature." Diss. Ottawa 1967. The second part of this thesis includes a chronological list of Callaghan's published works, including some reviews of the latter, up to and including That Summer in Paris (1963), pages 67-69. The notation also includes two articles by Callaghan himself, and a list of selected studies and articles about the author up to and including 1966. See C328 for the published updatings of these listings, 1973 and 1978.
C525 McGregor, Robert Grant. "A Comparative Study of the Short Stories of Morley Callaghan and Ernest Hemmgway." M.A. Thesis New Brunswick 1967. "In terms of the short story, there is no real basis in the charge that Callaghan was influenced unduly by Hemingway .... [T]he one valid point of connection between them would seem to be stylistic .... Both men. . . reproduce the rhythms of English as it is spoken in North America, and
C526 Coderre, Annette-E. "The Changing Role of Women in the French-Canadian and English-Canadian Novel." M.A. Thesis Sherbrooke 1968. Part of Chapter iv, "The Constant Woman," pages 92-120, is devoted to a study of Peggy Sanderson, the heroine of The Loved and the Lost. Coderre suggests that Peggy's fate is "symbolic of the many problems a liberal attitude may bring," but that "however unconventional her behaviour may appear on the surface, she plays the traditonal role of a woman."
C527 McKellar, Iain H. "The Innocents of Morley Callaghan--A Study of the Themes in the Novels." M.A. Thesis Carleton 1968. A study of Harry Trotter, John Hughes, Marion Gibbons, Stephen Dowling, Anna Prychoda, Kip Caley, Peggy Sanderson, Harry Lane, and Sam Raymond, which stresses the thematic unity of the work. The psychology of the "innocent" is unique in that it is not based on psychological theory, but on Callaghan's own moral sense. McKellar downplays the influence of Jacques Maritain.
C528 MacLure, Evelyn Joyce. "The Short Story in Canada: Development from 1935 to 1955 with Attached Bibliography." M.A. Thesis British Columbia 1969. Brief discussion of Callaghan in Chapters 1 and iv, pages 1-25 and 76-102 respectively. The author's collection, Now That Aprtl's Here (1936), is compared with the work of Thomas H. Raddall and Sinclair Ross: "in form, in characterization and themes, Callaghan tended to be advanced beyond the methods of his contemporaries in Canada." The thesis includes valuable chronological lists of anthologies and collections, and individual stories published in periodicals.
C529 Cloutier, Pierre. "The Function of the Artist in Five English Canadian Novels." M.A. Thesis Montreal 1971. "A selective study of the character and function of the artist as protagonist" in A Daughter of Today by Sara Jeanette Duncan, A Passion in Rome by Morley Callaghan, Tempest-Tost and A Mixture of Frailties by Robertson Davies, and A Choice of Enemies by Mordecai Richler. In Chapter ii, "Pygmalion Revisited," pages 25-60, Cloutier suggests that Callaghan has "outgrown" the "exacerbated subjectivism" of nineteenth-century, Romantic individualism. Whereas A Daughter of Today "rests on the assumption that an aesthetic is a morality, A Passion in Rome is founded on the reverse proposition"; Sam Raymond opts for a view of art that is "social, synthetic [and] encyclopedic.'"
C530 Corbett, Nancy Jean. "'Sexual Provinciality' and Characterization: A Study of Some Recent Canadian Fiction." M.A. Thesis British Columbia 1971. An examination of female characterization in selected novels by Brian Moore, Sinclair Ross, Hugh MacLennan, Morley Callaghan, Adele Wiseman, Sheila Watson, Ethel Wilson, and Margaret Laurence, written during the period 1950-65. Chapter iii, "Character as Symbol and the Theme of Sacrifice: The Loved and the Lost and The Watch That Ends the Night," pages 42-60, is devoted to an extended comparison of Peggy Sanderson and Catherine Stewart. The thesis concludes that "the problem of personal and social isolation" was a recurrent theme in the novels under study, and that female characters created by women were "arguably more interesting and convincing."
C531 Martin, Richard. "The Influence of Sherwood Anderson on Morley Callaghan." M.A. Thesis McMaster 1971. A comparative study which concludes that Anderson's influence on Callaghan may be limited to one book, Winesburg, Ohio: "That work guided [him] in his choice of the perceiving subject, his use of the colloquial style in both dialogue and narration, and above all in the theme of frustrated love." The influence is most apparent in the stories and novels published between 1928 and 1932. Includes a chapter on the two authors' aesthetics.
C532 O'Connor, John Joseph William. "A Rose in Sawdust: The Theme of 'engagement' in the Novels of Morley Callaghan and Robert Charbonneau and Other Canadian Writers." M.A. Thesis Sherbrooke 1971. O'Connor emphasizes the importance of the Roman Catholic philosopher, Jacques Maritain, "for the evolution of Canadian literature in the Twentieth Century." There is "incontrovertible proof of acquaintance with Maritain and of his direct influence" on Callaghan and Charbonneau, and "a stunning similarity of attitude and handling of theme" in the work of Adele Wiseman, Gabrielle Roy, Hugh MacLennan, Jean Simard, Jean Vaillancourt, and Colin McDougall. All are actively engaged in the exploration and delineation of the importance of commitment. O'Connor examines in detail the theme in They Shall Inherit the Earth by Callaghan and Ils possederont la terre by Charbonneau. See C470 for a published version of this thesis.
C533 Dural, Jean. "Vaine Illusion: Traduction Francaise de More Joy in Heaven de Morley Callaghan." M.A. Thesis Sherbrooke 1972. Includes biographical notes and an introduction.
C534 Grenier, Marie-Gertrude. "Morley Callaghan and Albert Laberge: Contrasted Views of Their 'Oeuvres.'" M.A. Thesis Sherbrooke 1972. A comparative study of "the theme of violence and the motif of crime and punishment" in the short stories of Laberge and Callaghan. Grenier includes biographical information about the backgrounds and literary careers of both men, plus detailed examination of oedipal conflict in twelve "country" stories by Callaghan and twenty-five by Laberge. Whereas Laberge is a literary Naturalist, retaining a Jansenist notion of retribution, Callaghan is a Christian humanist and Realist, whose characters are often the victims of a whimslcal fate.
C535 Ishkanian, Vahan Aram. "Papers: I. The Dual Concept of Kingship in Havelok the Dane; II. Towards a Figural Interpretation of William Blake's The Marriage of Heaven and Hell and Milton; III. Symbolism in Morley Callaghan's Short Stories." M.A. Thesis Simon Fraser 1972. The third paper, pages 113-68, concerns us here: Callaghan's use of symbolism is "diffuse." While "a large number of figurative devices" are resorted to, there is no real development in their use. Meanings remain simple or complex according to the context, and there is great variation in the "range, function, suitability, and . . . quality" of the symbols. Aspects of nature such as weather or animals, inanimate objects, light, buildings, and clothing are all used as "convenient tool[s]" to define the emotional state of a character, structure a plot, or develop a theme.
C536 Mitcham, Elizabeth Allison. "Environmental Influences on Themes of Isolation in the French and English Canadian Novel during the Period 1940-1971." Diss. New Brunswick 1972. Mitcham comments briefly on Callaghan's More Joy in Heaven, The Varsity Story, and The Loved and the Lost in Chapters iii and iv, entitled respectively "The Violence of Isolation," pages 67-90, and "The Isolation of Artists and Intellectuals Who Remain in Canada," pages 91-107.
C537 Ulrych, Miriam Iris. "Attitudes to Love and Sex in the English Canadian Novel." M.A. Thesis British Columbia 1972. Ulrych examines attitudes to love and sex in eight Canadian novels: Grove's Settlers of the Marsh, Callaghan's They Shall Inherit the Earth, MacLennan's The Watch That Ends the Night, Watson's The Double Hook, Richler's The Apprenticeship of Duddy Kravitz, Cohen's Beautiful Losers, Laurence's The Fire-Dwellers, and Kroetsch's The Studhorse Man. Chapter iii, "Morley Callaghan," pages 37-69, is devoted to Callaghan. Grove, Callaghan, and MacLennan are said to reflect "the traditional, mainstream attitude to sex," essentially a Victorian ideal, and, although Callaghan attempts to break away from the traditional duality, "his fusion of body and soul actually breaks down into just another version of the old split so that sex is good only so long as it remains in the service of self-sacrificing love." Grove, Callaghan, and MacLennan all create fictional worlds in which sado-masochism inadvertently works against their notions of idealized love, and such sado-masochism persists in the work of contemporary writers.
C538 Kendle, Judith. "The Artist, His Church and Society: Themes in the Novels of Morley Callaghan." M.A. Thesis Manitoba 1973. See C377 and C428 for published versions of this thesis.
C539 Austin, Diana Lynn. "Strange Fugitives: The Questing Outcast in the Novels of Morley Callaghan." M.A. Thesis Queen's 1974. Austin focuses on "the thematic importance of the recurring figure of the questing outcast" in Callaghan's novels, a "neglected aspect" of his work, and suggests that A Passion in Rome is his most optimistic novel yet. Callaghan's "protagonists are usually spiritual fugitives from the accepted conventions" of society and are seeking "self-fulfillment." Orthodox Christianity and social activism are found equally wanting: "each indtvidual must give meaning and dignity to his own life by attempting to realize fully his own individual potential."
C540 Brown, Rod S. "Three Perspectives on the Depression: Morley Callaghan, Hugh MacLennan, Earle Birney." M.A. Thesis Manitoba 1974. Brown examines the influence of the Great Depression on four novels by three Canadian authors: Such Is My Beloved and They Shall Inherit the Earth by Morley Callaghan, The Watch That Ends the Night by Hugh MacLennan, and Down the Long Table by Earle Birney. Chapter ii, pages 21-37, is devoted to Callaghan. While "social forces provide the backdrop for personal suffering," the emphasis in his work is on "the single man, the individual, the lone combattant and his battle for meaning and purpose in life." Ideological solutions are rejected.
C541 Furey, Leo Joseph. "Morley Callaghan's Stories." M.A. Thesis Memorial 1974. An examination of Callaghan's stories "as an art form, rather than as a specific system of thought or belief." The pattern that emerges is one of "exposition, confrontation-revelation, denouemerit," a formula which complements the theme of "little things." A diagrammatic outline of this structure is included in the Appendix, page 101.
C542 Thomas, David Raymond. "The Law in Canadian Fiction." M.A. Thesis Sherbrooke 1974. A comparative study of attitudes towards the law, its officers, and legal institutions in Canada, as reflected in approximately sixty novels in English and French. The thesis finds that characters in the Canadian novel are favourably disposed towards their legal system, and that the differences between English- and French-Canadian fiction on the sublect of the law are few and minor in comparison with the many similarities. Chapters and I and iii, entitled respectively "The Police in the Canadian Novel," pages 1-37, and "Lawyers, Judges, and the Administration of Justice in the Canadian Novel," pages 89-131, include commentary on Callaghan's It's Never Over, More Joy in Heaven, and The Loved and the Lost.
C543 Darte, M. Madeleine. "Moral Vision and Naturalistic Technique: The Conflict in the Novels of Morley Callaghan." Diss. Toronto 1975. Darte contends that Callaghan is "a Christian writer of major proportions trying to work within the objectlve limitations of the American naturalists," and that the "conflict between [his] technical naturalism and his need to convey a moral vision created serious problems" for him. Although there is "thematic consistency" in Callaghan's novels from Strange Fugitive (1928) to The Many Colored Coat (1960), there is a "technical change" in his middle and later works which is not consistent with "his objective theories on writing." Probably because of critical misreadings, Callaghan has increasingly used obvious symbols and shifting points of view in order to convey meaning, "but in doing so he has sacrificed much of the realistic surface he has always sought to achieve in his work." Ultimately he is judged to be "a failed major novelist, something Canadian literature has needed." The thesis includes a brief survey of the publishing history and the critical reception of Callaghan's work. An Appendix purporting to discuss the role of the artist in A Passion in Rome, That Summer in Paris, and A Fine and Private Place is missing.
C544 Van Wyck, Mary E. "Aspects of the Calvinist-Jansenist Complex in Characters in Canadian Fiction." M.A. Thesis Sherbrooke 1975. Part of Chapter iv, "The 'System' Worshippers," pages 65-85, is devoted to a study of Father Dowling in Such Is My Beloved. Here Van Wyck expands Ronald Sutherland's observations regarding the essential docility of the "pretre manque" (C290), in order to suggest that Father Dowling's madness is the result at once of his dismissal from the parish and of his own inability to either confront or criticize the institution he serves.
C545 Pathyll, Joseph. "Morley Callaghan's Christians: A Study of Some Characters in the Novels of Callaghan." M.A. Thesis Concordia 1976. Thesis prepared for the Department of Religion. Five characters are examined in detail: Peggy Sanderson, Harry Lane, Father Dowling, Isabelle Thompson, and Anna Prychoda are "true Christians" or "transcendentalists," who are mis-understood and ostracized by their society.
C546 Stockdale, John C. "The Development of the Canadian Novel in French and English from 1920 to 1950: A Study in the Comparative Development of Themes." Diss. Laval 1976. Stockdale categorizes approximately eight hundred novels in English and four hundred novels in French by theme: country novels, novels of war, novels of social change, novels of romance and adventure, historical novels, nationalistic novels, and novels of maturation. The thesis includes brief synopses of Callaghan's More Joy in Heaven, It's Never Over, and Such Is My Beloved, on pages 235, 348, 430, and 432.
C547 Hoy, Helen Elizabeth. "The Portrayal of Women In Recent English-Canadian Fiction." Diss. Toronto 1977. An examination of female characterization in the works of four Canadian novelists: Morley Callaghan, Hugh MacLennan, Robertson Davies, and Margaret Laurence. Chapter II, "The Portrayal of Women in the Novels of Morley Callaghan," pages 12-88, concerns us here. Rejecting George Woodcock's "simple sexual dichotomy" between sacred and profane love, Hoy suggests that Callaghan "creates contrasting figures of the sophisticated and the innocent," and "idealizes the positive innocent figure" through imagery and comparisons to a child. Callaghan's heroines "often function as moral touchstones symbolizing contrasting worlds of spiritual aspiration and material success, of integrity and conformity, between which the male protagonist must choose, or dramatize simply the positive ideal of loving simplicity in his life." Although Callaghan's portraits of women manage to suggest "some psychological complexity and ambiguity," they also suffer from flatness and artificiality.
C548 McDonald, Laurence Thomas Russell. "Beginnings and Endings: A Study of Morley Callaghan's Fiction." Diss. Queen's 1977. A "determinedly heuristic reading of Callaghan's work," whtch draws attention to his interest in the workings of human consciousness. "Whereas much criticism approaches his novels as if they were moral parables written within a Catholic world view," McDonald argues that Callaghan "explicitly rejects such concepts as grace, original sin, God, and an afterlife." His first works "reflect the North American fascination [during the 1920s] with the theories of Darwin, Marx, and Freud," and his explorations of the nature of man "lean heavily on the analytical models of depth psychology." Callaghan's "most important and successful writing" was done prior to World War II. His later novels "are marred by an egocentric self-consciousness that is at odds with a message that champions whatever is pagan, instructive, and mysterious at the expense of whatever is civilized, wilful and rational." See C7 for a published version of this dissertation.
C549 Ozbalt, Marija Ana Irma. "Social Misfits in Morley Callaghan's and Ivan Cankar's Fiction." Diss. McGill 1977. A dissertation prepared for the Department of Russian and Slavic Studies. A comparative study which attempts to prove that Callaghan and Ivan Cankar, a Slovene novelist and short story writer, display remarkable similarities in their personalltles, literary creeds, and views of life, despite vastly different socio-economic, racial, and cultural backgrounds. Ozbalt analyzes ten types of "social misfits" the authors apparently have in common (Father, Mother, Venus, Prostitute, Nun, Priest, Homosexual, Immigrant-Emigrant, Seeker of Justice, and Criminal Saint) and concludes that both writers belong "to the cultural heritage of all peoples in the world."
C550 Sarkar, Eileen. "The Concept of Freedom in English Canadian and French Canadian Novels of the 1950s." Diss. Ottawa 1977. A comparative study of the concept of human freedom as it is reflected in thirteen French- and English-Canadian novels published during the 1950s. Both literatures define the problem in terms of a conflict between individual self-expression and communal responsibilities, and seek similar means of expression and resolution: there is a movement in the novels of both language groups from extremism of various kinds to, in rare instances, reciprocity. Chapter II, "The Individual as Outlaw in the Community," pages 49-94, compares Callaghan's The Loved and the Lost and Andre Langevin's Poussiere sur la ville. In both works, the protagonist's individual self is said to be "externalized in a figure who is an outlaw in the community. Peggy Sanderson and Madeleme Dubois exist in their respective novels as the protesting cry of individualism in a rigidly conformist world."
C551 Wainwright, John Andrew. "Motives for Metaphor: Art and the Artist in Seven Canadian Novels." Diss. Dalhousie 1978. An examinauon of "the psychology of creation," as revealed in the work of seven major Canadian writers including Malcolm Lowry, Margaret Laurence, Leonard Cohen, Sinclair Ross, Ernest Buckler, Morley Callaghan, and Robertson Davies. Chapter vi, "A Free and Private Place," pages 229-70, is devoted to Callaghan. Wainwright contends that the novel raises various possibilities about the relationship of art and life, but "fails to achieve profundity" because of "an inept handling of plot and theme." Whether or not the work is a roman a clef, its success depends on the credibility of the portrait of Eugene Shore. The latter is not achieved and leads to considerable confusion. The novel reads at one point like a justification of anarchy and, as such, represents "a remarkable abdication" of authorial responsibility.
C552 Rose, Marilyn J. "The Melodramatic Imagination: Selected English-Canadian Fiction 1925-1932." Diss. McMaster 1979. This dissertation examines four novels "supposedly flawed by melodramatic excess," including Raymond Knister's White Narcissus (1929), Martha Ostenso's Wild Geese (1925), Morley Callaghan's A Broken Journey (1932), and Frederick Philip Grove's The Yoke of Life (1930), "in order to discover the function and significance of melodramatic conventions and the sort of vision they project." Chapter iii, "A Broken Journey: 'Sharp Ravines Still Filled with Mist,'" pages 80-114, concerns us here. Arguing that the "protagonistic centre" of the novel is Marion Gibbons, Rose suggests that the work is less a novel of "social commentary than of psychological insight" and explores its structure, levels of meaning, and symbolic motifs. All four novels under examination exhibit similar features: the "melodramatic mode" is not only particularly relevant to modern experience, but also a fruitful (and non-nationalistic) approach to other experimental non-Realistic fiction.
C553 Berrigan, Sean Francis. "Anthology: Catalogue and Index 1954-1974. With a Critical Introduction." M.A. Research Essay Carleton 1980. Prepared for the Institute of Canadian Studies. This catalogue and index to the CBC radio series, Anthology, to which Callaghan has made frequent and substantial contributions is complete except for two gaps: 1963-66, and mid-January-June 1972. Berrigan's Introduction traces the program's origins, aims, influences, and directions and suggests that its relationship to the development of Canadian literature has been dialectical. Copies of this work are available for consultation at CBC Program Archives in Toronto (see Section B: Radio Contributions, Note) and Sound Division, Public Archives of Canada, in Ottawa.
C554 Freiburger, John. "A Primer for Critics: Callaghan's A Free and Private Place." M.A. Thesis McMaster 1980. Callaghan's patterns of Jungian imagery in A Free and Privte Place are intended as parodies of psychological insights into the artistic process. Freiburger includes a detailed analysis of the "anima development" of Lisa Tolen, Eugene Shore, Jason, and Al Delaney. He also explores the similarities among A Fine and Private Place, Such Is My Beloved, More Joy in Heaven, and The Loved and the Lost.
C555 Pell, Barbara. "Faith and Fiction: Religious Vision and Form in the Novels of Hugh MacLennan, Morley Callaghan and Hugh Hood." Diss. Toronto 1980. Pell examines "the theological traditions which shape or illuminate the religious attitudes of [each] author, as well as their own statements of their beliefs," in order to "show at what points and to what extent the strengths and weaknesses of their art are due to their religious assumptions." Chapter iii, "Morley Callaghan," pages 129-208, is our main concern here: Pell explores in detail the probable influence of Jacques Maritain in the thirties, at its most explicit, she claims, in Such Is My Beloved (1934), and concludes that "the essential pattern in the development of Callaghan's novels is his ongoing search for a solution to the dilemma of grace in nature, the tensions of the sacred and the secular, unul he finally in his latest stage comes to the conclusion that there is no solution."
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Interviews
Kendle, Judith (compiler)
C556 Moore, Mayor. Interview with Morley Callaghan. In "Love and Money 1936-1956." Writ. and prod. Eric Koch and Ted Pope. Narr. Mavor Moore. Explorations, CBC TV, 15 July 1956. Moore interviews Morley Callaghan concerning the disparity between lifestyles in a docudrama comparing the Canadian standard of living during the Depression year of 1936 and the economically stable year of 1956. Includes domestic scenarios set in each year. Cast: Jack Creley, Toby Robins, Aileen Seaton, John Sullivan, Douglas Master.
C557 Weaver, Robert. "A Talk with Morley Callaghan." The Tamarack Review, No. 7 (Spring 1958), pp. 3-29. Rpt. in The First Five Years: A Selection from The Tamarack Review. Ed. Robert Weaver. Introd. Robert Fulford. Toronto: Oxford Univ. Press, 1962, pp. 116-42. Callaghan discusses his youthful beginnings as a writer, his meetings with Raymond Knister and Ernest Hemingway, his early reading and work on the Toronto Daily Star, his brief sojourn in Paris in 1929, the "dark period" of his life in Toronto during the forties, and his radio and television work. The interview includes revealing comments about the theme of innocence, and Callaghan's belief that "the great sin really is not to realize your own possibilities," as well as frank opinions about fellow writers, editors, and critics. The interview took place in December 1957, just after the rewriting of "The Man with the Coat."
C558 Findley, Timothy. "Seven Canadian Novelists." Interview with Morley Callaghan. The Best Ideas You'll Hear Tonight. CBC-FM Radio, II March 1966. Part vii of a seven-part series in which Findley talks to and about Canadian novelists.
C559 Toppings, Earle. Canadian Writers on Tape: Morley Callaghan/Hugh Garner. Toronto: Ontario Institute for Studies in Education, 1971. (Audiotape; 30 min.) Callaghan discusses the source of literature ("One's relationships with other people") and its providential aspects, the ordinary nature of his material, and a writer's most important attribute or skill ("an eye and an ear"). He also explains his rejection of literature in the sense of the evolutionary growth of literary theory, rejects the suggestion that he doesn't handle Canadian themes, and suggests that in Canada politics is often a substitute for culture.
C560 Cameron, Donald. "Defending the Inner Light: An Interview with Morley Callaghan." Saturday Night, July 1972, pp. 17-22. Rpt. ("Morley Callaghan: There Are Gurus in the Woodwork") in Conversations with Canadian Novelists--2. By Donald Cameron. Toronto: Macmillan, 1973, pp. 17-33. Rpt. (excerpt-- "Speaking of Criticism . . .") in The Search for Identity. Ed. James Foley. Toronto: Macmillan, 1976, pp. 92-93. Callaghan talks about the dire consequences of economic necessity, the value of his legal training, his interest in priests and things of a theological nature, the nature of innocence and the difficulty of interpreting his work, the alleged failure of A Passion in Rome, the origin of his story "The Magic Hat," his own "quite anarchistic view of the world," and the tumultuous sojourn of his son Barry as book editor of The Telegram [Toronto]. He vigorously rejects the kind of Canadian nationalism "which is an insistence on the protection of the third rate." The interview was conducted on 16 November 1971 in Toronto.
C561 Anderson, Allan. "Aspects of the Canadian Novel: The Craft of Fiction in the Last Half Century." Interview with Margaret Atwood, Morley Callaghan, Robertson Davies, Hugh Garner, Graeme Gibson, Dave Godfrey, Margaret Laurence, Gwendolyn MacEwen, Hugh MacLennan, W. O. Mitchell, Alice Munro, Sheila Watson, et al. Anthology. Prod. Doug MacDonald. CBC Radio, 4 Nov. 1972. (5 min.) In Part I of a seven-part series, Anderson interviews the above novelists about what motivates the writer, how they view their own work and that of others, and why they are artists. Margaret Laurence and Callaghan are interviewed in a five-minute section of Part I.
C562 Anderson, Allan. "Aspects of the Canadian Novel." Interview with Margaret Atwood, Ross Beharriell, Morley Callaghan, Robertson Davies, Robert Fulford, Dave Godfrey, David Helwig, Hugh Hood, and Desmond Pacey. Anthology. Prod. Doug MacDonald. CBC Radio, 18 Nov. 1972. (1 min. Part III of a seven-part series. Anderson interviews the above writers about the tradition of fiction writing in Canada. Callaghan's comments compose one minute of Part III.
C563 Anderson, Allan. "Aspects of the Canadian Novel." Interview with Morley Callaghan, Robertson Davies, Hugh Garner, Graeme Gibson, Dave Godfrey, David Helwlg, Henry Kreisel, Margaret Laurence, Hugh MacLennan, John Marlyn, Alice Munro, Mordecai Richler, Jane Rule, Sheila Watson, et al. Anthology. Prod. Doug MacDonald. CBC Radio, 2 Dec. 1972. PART V of a seven-part series. Anderson interviews the above writers about their perspectives on regionalism, Prairie novels, ethnic novels, and dialogue.
C564 Hutchinson, Helen. Interview with Morley Callaghan. This Country in the Morning, CBC Radio, 8 June 1973. Callaghan regrets "the loss of moral principles" in the contemporary world, as evidenced by the trend toward sexual permissiveness and Watergate. He disapproves of a woman friend's approval of her son's sleeping with his girlfriend in the family home and says that this "most intimate personal relationship" should be secret. Callaghan believes civilizatlon is held together by people who are inner- as opposed to outer-directed.
C565 Gzowski, Peter. Interwew with Morley Callaghan. This Country in the Morning, CBC Radio, II Sept. 1973. Callaghan discusses the importance of being true to one's own prejudices, and goes on to give his initial and later impressions of the American literary critic, Edmund Wilson.
C566 Enright, Michael. Interview with Morley Callaghan. This Country in the Morning, CBC Radio, 13 Nov. 1974. Program includes Morley Callaghan talking about the Canadian winter, the subject of his latest book, Winter. Callaghan claims that winter makes one more reflective, convivial, sensitive, and sexy.
C567 Enright, Michael. Interview with Morley Callaghan. This Country in the Morning, CBC Radio, 10 Jan. 1975. Callaghan talks about his experiences during the Great Depression and attacks the notion that people are deeply disturbed by an abstract threat.
C568 Fulford, Robert. Interview with Morley Callaghan. Speaking of Books. Dir. Ron Keast. Prod. Paul Marquardt. Toronto: Ontario Educational Communications Authority; CBC TV, 1976. (Videorecording; colour; 30 min.) Callaghan discusses, among other things, the audacity of A Fine and Private Place, the recurrent figure of the criminal-saint in his work, the nature of love, and the importance of Edmund Wilson's laudatory remarks (C199).
C569 Gartner, Hanna, and John O'Leary. Interview with Morley Callaghan. This Country in the Morning. Prod. Barry Hussey. CBC Radio, 28 June 1976. Callaghan is upset that reviewers and interviewers make numerous references to his age. While age is presumably not a relevant point with regard to a painter, critics assume that "if you go on writing, you have nothing new to say." As far as Callaghan is concerned, "there is no reason why a writer shouldn't be hit by a whole new view of things in his eighties." He doesn't want to be considered a "Canadian institution," and he resents honours he has received because "I want to go on writing, and I want each book to be different." He feels that Edmund Wilson's observation that he has been neglected is misleading and notes that there is a book of critical writing on his work. Playwriting is not so much a new avenue for Callaghan as it is an "enlargement of my view of life." He feels that the "great mystery" and "secret triumph" of the writer is that "you write something, and it's out of your eyes and your heart, and gradually you bring people around to seeing life your way." He is not a disciphned writer and feels that writing "should be done out of love" and not out of determination.
C570 Drainie, Bronwyn, and Warner Troyer. "Artsworld." Interview with Morley Callaghan. Sunday Morning. Prod. David McCormick. CBC Radio, 18 Sept. 1977. Callaghan stresses that "... you should never stop writing while it is a secret passion with you" and that it is the job of the writer to write "as he sees and feels." Reflecting on contemporary Canadian literature, he observes that it now has more variety and because of this has become more interesting. He feels it is significant and important that some of his books have been translated into Russian since they concern "the private inner world." Drainie asks him how he feels about Canada as a nation, and Callaghan says that it is a "strange country," and people who insist on the "Canadian vision" make him uncomfortable because they think of Canada in terms of maps. He feels that it's misleading to regard Canada in a geographical sense because literature evolves out of people and not out of geography. Troyer introduces and concludes the interview.
C571 McManus, Mike. Interview with Morley Callaghan. The Education of Mike McManus. Toronto: Ontario Educational Communications Authority, 1977. Broadcast CBC TV, 31 Oct. 1977. (Videorecording; colour; 30 min.) Callaghan talks about his early years with the Toronto Daily Star, his sojourn in Paris, and his recent novels, A Fine and Private Place and Close to the Sun Again.
C572 Soles, Paul. Interview with Morley Callaghan. 90 Minutes Live. Exec. prod. Alex Frame. CBC TV, 28 Nov. 1977. Morley Callaghan discusses the process of ageing, intellectual virility, a burglary in his home, and his novel, Close to the Sun Again, in one of the segments of this program.
C573 Gzowski, Peter. Interview with Morley Callaghan. 90 Minutes Live. Exec. prod. Alex Frame. CBC TV, 11 Jan. 1978. In one of the segments of this program, Morley Callaghan discusses the RCMP invasion of priacy through wiretaps, opening of mail, and electronic surveillance. He is worried about the acceptance by parliamentarians of police control and cites examples of the RCMP writing false communiques during the FLQ crisis.
C574 Soles, Paul. Interview with Morley Callaghan. Canada after Dark. Exec. prod. Alex Frame. CBC TV, 2 Nov. 1978. In one of the segments of this program, Morley Callaghan discusses his life in Paris at age twenty-five, his view of psycho-analysis, and his novellas, No Man's Meat & The Enchanted Pimp.
C575 Healy, David. "Morley Callaghan: A Man with a Past." The Varsity [Univ. of Toronto], 7 March 1979, p. 10. Callaghan discusses his life as an undergraduate student at the University of Toronto, his sojourn as a reporter at the Toronto Daily Star, his associations with Hemingway, Fitzgerald, and Joyce in Paris, writing short stories for The New Yorker during the thirties, literary styles, and his own determination to write as he talks. Among other things, Callaghan insists he was never a Symbolist, defends A Passion in Rome against reviewers, and describes "The Enchanted Pimp" as "a response to the lack of passion in the contemporary sex scene."
C576 Fraser, Matthew. "A Conversation with Morley Callaghan." The Varsity [Univ. of Toronto], 6 Feb. 1980, pp. 10-11. Transcript of a wide-ranging conversation with Callaghan at his Rosedale home in early January 1980. Callaghan comments on debating with Paul Martin at the University of Toronto, his meeting with Hemingway at the Toronto Daily Star, the writing of his first stories and Strange Fugitive "while at Varsity," his decision to give up law in favour of writing, Paris and the "extraordinary sense of conviction [among expatriate writers] that [they] were all great," F. Scott Fitzgerald, writing "the same way as [he] talks," Toronto, on being a North American writer, Canadian politics and Joe Clark, Canadian writers he admires (Margaret Laurence and Margaret Atwood), and Edmund Wilson's "unfortunate" remarks about his work (C199). The conversation concludes with brief, blunt assessments of James Joyce, Sherwood Anderson, Ezra Pound, Gertrude Stein, Ford Madox Ford, Sinclair Lewis, F. Scott Fitzgerald, Ernest Hemingway, and himself.
C577 Farr, Jack. Interview with Morley Callaghan. The Radio Show. CBC Radio [Winnipeg], 19 Feb. 1983. A brief telephone interview on the occasion of Callaghan's eightieth birthday celebrations to be held in a few days. Callaghan says he "wouldn't dream of letting anybody celebrate . . . [his] birthday if... [he] didn't have something to show for it" and proceeds to talk about his new book, A Time for Judas, to be published in August i983. He claims he feels "as much alive, if not more alive, than . . . [he] was twenty years ago" and describes a special dinner party to be held in his honour in Toronto (see C496). He also claims to be working on another book.
C578 Frum, Barbara. Interview with Morley Callaghan. The Journal. CBC TV, 22 Feb. 1983. (10 min.) Frum interviews Callaghan in his home before he attends a dinner party held in his honour on his eightieth birthday (see C496). They discuss his new novel, A Time for Judas; his decision to become a writer instead of a lawyer as a young man; and his attitude towards being regarded as a national treasure. Callaghan says his new work, described by Frum as an attempt, perhaps, to rehabilitate Judas, is not "a matter of ambition," but rather "of the imagination" and characterizes the disciple as "a figure of love," who ultimately became "a figure of pride." He also rejects the idea of being a national monument, says he is "teeming with ideas," and claims to be working on another book. The interview also includes a brief overview of Callaghan's career (by way of introduction) by Peter Kent, some brief film clips from an earlier television profile about the author (see C306), and a few shots of the Callaghans and their guests arriving at the Bottom Line restaurant in Toronto.
C579 Gzowski, Peter. Interview with Morley Callaghan and Barry Callaghan. Mornmgside. Exec. prod. Nicole Belanger. CBC Radio, 22 Feb. 1983. (20 min. ) Gzowski interviews Morley Callaghan and his son, Barry, on the occasion of Morley's eightieth birthday that day: they discuss how to pronounce the family name; the difficulties associated with being Morley's son; the nature of Barry's talent, as opposed to Morley's own; the mysterious source of a writer's energy; how the two of them get on at the dinner table; and the "sombre, grim side" of Morley's work. Morley says that his son has "a gift of the gab in writing" that he lacks, describes Norman Mailer as "a third rate novelist, if there ever was one," and claims that he wrote Such Is My Beloved "in a month." He also says that Robert McAlmon once told him his "stories [had] the odour and timbre of authenticity" and discusses Edmund Wllson's reaction to his work (see C199). Barry tells an amusing story about Edmund Wllson's discomfiture at their dinner table; he could neither get a word in edgewise, nor eat. Barry also suggests that the reason why his father's work did not catch on commercially was because it lacked the "adolescent glow" so prevalent in American literature and culture. Morley says his new book, A Time for Judas, will be out in late August 1983.
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
Item Number: ABCMA05MCP2000005001003004
Record: 151- Title:
- Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts; Manuscripts
- Other Title:
- Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 1: Works By Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 180-203)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP1
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Source: Part 1: Works By Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 180-203
Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts; Manuscripts
Grant, Judith Skelton (compiler)
A10 Thomas Fisher Rare Book Library
University of Toronto
Toronto, Ontario
The University of Toronto is the depository of Mavis Gallant's mss. She sends material in small batches every few months. The collection is still growing. To date it includes:
Tss. of 43 short stories. A few are corrected tss.; includes notes Gallant enclosed with each group she sent.
Tapes of 6 interviews, 5 of them in French.
Page proof of From the Fifteenth District.
Ts. of From the Fifteenth District with editor's corrections. (2 sets); ts. of "Baum, Gabriel 1935-( )" with editor's corrections; page proofs of Home Truths: Selected Canadian Stories; a ts. of the Introduction to Home Truths: Selected Canadian Stories without editorial cuts; a photocopy of "Mavis Gallant and the Expatriate Character," a paper given by Ronald Hatch to the German Association for Canadian Studies, 1981; the Certificate awarding Gallant the National Magazine Award for outstanding achievement in the category of fiction, 12 April 1978, presented by the Columbia University Graduate School of Journalism.
Copies of The New Yorker and other magazines containing Mavis Gallant's stories, 1950-81; copies of The New York Times Book Review containing Mavis Gallant's work as a book reviewer and essayist, 1972-77.
[underbar]
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Source: Grant, Judith Skelton (compiler); . Part 1: Works By Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 180-203 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP1.
Item Number: ABCMA05MGP1000005002001004
Record: 152- Title:
- Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts; Novels
- Other Title:
- Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 1: Works By Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 180-203)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP1
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Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts; Novels
Grant, Judith Skelton (compiler)
A7 Green Water, Green Sky. Cambridge, Mass.: Houghton Mifflin, 1959. 154 pp.
[underbar]. London: Andre Deutsch, 1960. 154 pp. Includes "August" (B30), "Green Water, Green Sky" (B28), and "Travellers Must Be Content" (B29).
A8 A Fairly Good Time. London: Heinemann, 1970. 308 pp.
[underbar]. New York: Random House, 1970. 308 pp. Includes "The Accident" (B62) among other chapters.
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Source: Grant, Judith Skelton (compiler); . Part 1: Works By Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 180-203 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP1.
Item Number: ABCMA05MGP1000005002001002
Record: 153- Title:
- Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts; Play
- Other Title:
- Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 1: Works By Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 180-203)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP1
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Source: Part 1: Works By Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 180-203
Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts; Play
Grant, Judith Skelton (compiler)
A9 What Is to Be Done?. Dir. Paul Bettis. Artistic dir. Urjo Kareda. Tarragon Theatre, Toronto. II Nov.-19 Dec. 1982. (150-180 min.) The cast is Rod Beattie, Patricia Carroll Brown, Margot Dionne, Donna Goodhand, and Jack Messinger.
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Source: Grant, Judith Skelton (compiler); . Part 1: Works By Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 180-203 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP1.
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Record: 154- Title:
- Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts; Short stories and novellas
- Other Title:
- Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 1: Works By Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 180-203)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP1
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Part 1 Works by Mavis Gallant; Books (short stories and novellas, and novels), play, and manuscripts; Short stories and novellas
Grant, Judith Skelton (compiler)
A1 The Other Paris: Stories. Cambridge, Mass.: Houghton Mifflin, 1956. 240 pp.
[underbar]. London: Andre Deutsch, 1957. 240 pp.
[underbar]. Freeport, N.Y.: Books for Libraries, 1970. 240 pp. Includes "About Geneva" (B27), "Autumn Day" (B28), "A Day Like Any Other" (B10), "The Deceptions of Marie-Blanche" (B8), "Going Ashore" (B16), "The Legacy" (B13), "One Morning in June" (B6), "The Other Paris" (B9), "The Picnic" (B7), "Poor Franzi" (B15), "Senor Pinedo" (B11), and "Wing's Chips" (B12).
A2 My Heart Is Broken: Eight Stories and a Short Novel. New York: Random House, 1964. 273 pp. An Unmarried Man's Summer. London: Heinemann, 1965. 248 pp. My Heart Is Broken: Eight Stories and a Short Novel. Toronto: PaperJacks, 1974. 273 pp.
[underbar]. New Press Canadian Classics. Toronto: General, 1982. 273 pp. Includes "Acceptance of Their Ways" (B33), "Bernadette" (B22), "The Cost of Living" (B40), "The Ice Wagon Going Down the Street" (B49), "Its Image on the Mlrror--A Short Novel," "The Moabitess" (B26), "My Heart Is Broken" (B39), "Sunday Afternoon" (B44), and "An Unmarried Man's Summer" (B47).
A3 The Pegnitz Junction: A Novella and Five Short Stories. New York: Random House, 1973. 193 pp.
[underbar]. London: Jonathan Cape, 1974. 193 pp.
[underbar]. Laurentian Library, No. 69. Toronto: Macmillan, 1982. 193 pp. Includes "An Alien Flower" (B76), "An Autobiography" (B50), "Ernst in Civilian Clothes" (B48), "O Lasting Peace" (B75), "The Old Friends" (B72), and "The Pegnitz Junction."
A4 The End of the World and Other Stories. Introd. Robert Weaver. New Canadian Library, No. 91. Toronto: McClelland and Stewart, i974. 167 pp. Includes "About Geneva" (B17), "Acceptance of Their Ways" (B33), "The Accident" (B62), "The End of the World" (B61), "In the Tunnel" (B74), "Malcolm and Bea" (B65), "My Heart Is Broken" (B39), "New Year's Eve" (B73), "The Other Paris" (B9), "The Picnic" (B7), "The Prodigal Parent" (B70), "An Unmarried Man's Summer" (B47), and "The Wedding Ring" (B71).
A5 From the Fifteenth District: A Novella and Eight Short Stories. London: Jonathan Cape, 1979. 243 pp. Includes "Baum, Gabriel, 1935-( )" (B91), "The Four Seasons" (B80), "From the Fifteenth District" (B89), "His Mother" (B77), "Irina" (B79), "The Latehomecomer" (B78), "The Moslem Wife" (B85), "Potter" (B86), and "The Remission" (B92).
A6 Home Truths: Selected Canadian Stories. Introd. Mavis Gallant. Toronto: Macmillan, 1981. XXII, 330 pp.
[underbar] Laurenuan Library, No. 71. Toronto: Macmillan, 1982. 330 pp. Includes "Between Zero and One" (B82), "Bonaventure" (B59), "The Doctor" (B87), "The Ice Wagon Going Down the Street" (B49), "In the Tunnel" (B74), "In Youth Is Pleasure" (B81), "Jorinda and Jorindel" (B31), "Orphans' Progress" (B54), "The Prodigal Parent" (B70), "Saturday" (B66), "Thank You for the Lovely Tea" (B20), "Up North" (B32), "Varieties of Exile" (B83), "Virus X" (B53), "Voices Lost in Snow" (B84), and "With a Capital T" (B88).
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Source: Grant, Judith Skelton (compiler); . Part 1: Works By Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 180-203 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP1.
Item Number: ABCMA05MGP1000005002001001
Record: 155- Title:
- Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous; Short stories and miscellaneous short fiction
- Other Title:
- Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 1: Works By Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 180-203)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP1
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Source: Part 1: Works By Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 180-203
Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous; Short stories and miscellaneous short fiction
Grant, Judith Skelton (compiler)
Note: When an item is reprinted in one of Gallant's books, this fact is noted in the entry through one of the following abbreviations:
The End of the World and Other Stories. . . EW
A Fairly Good Time ........... FGT
From the Fifteenth District ............ FFD
Green Water, Green Sky ......... GWGS
Home Truths: Selected Canadian Stories . . . . HT
My Heart Is Broken ................ MHB
The Other Paris ................. OP
The Pegnitz Junction ............ PJ
BI "Good Morning and Goodbye." Preview, No. 22 (Dec. 1944), pp. 1-3.
B2 "Three Brick Walls." Preview, No. 22 (Dec. 1944), pp. 4-6.
B3 "A Wonderful Country: A Hungarian Likes the Egg-Beater." The Standard Magazine [The Standard] [Montreal], 14 Dec. 1946, pp. 4, 8.
B4 "The Flowers of Spring." Northern Revtew, 3, No. 5 (June-July 1950), 31-39.
B5 "Madeline's Birthday." The New Yorker, I Sept. 1951, pp. 20-24.
B6 "One Morning in June." The New Yorker, 7 June 1952, pp. 27-31. OP.
B7 "The Picnic." The New Yorker, 9 Aug. 1952, pp. 23-28. OP; E.W.
B8 "The Deceptions of Marie-Blanche." Charm, No. 83 (March 1953), pp. 91, 146-55. OP.
B9 "The Other Paris." The New Yorker, II April 1953, pp. 27-36. OP; E. W.
B10 "A Day Like Any Other." The New Yorker, 7 Nov. 1953, pp. 37-44. OP.
BII "Senor Pinedo." The New Yorker, 9 Jan. 1954, pp. 23-28. OP.
Bl2 "Wing's Chips." The New Yorker, 17 April 1954, pp. 35-38. OP.
B13 "The Legacy." The New Yorker, 26 June 1954, pp. 22-29. OP.
B14 "By the Sea." The New Yorker, 17 July 1954, pp. 27-30.
B15 "Poor Franzi." Harper's Bazaar, Oct. 1954, pp. 153, 239, 241-43. OP.
B16 "Going Ashore." The New Yorker, 18 Dec. 1954, pp. 32-42, 44, 46, 48-50, 53. OP.
B17 "About Geneva." Charm, No. 85 (June 1955), pp. 94, 146-147. OP; EW.
B18 "Autumn Day." The New Yorker, 29 Oct. 1955, pp. 31-38. OP.
B19 "In Italy." The New Yorker, 25 Feb. 1956, pp. 32-36.
B20 "Thank You for the Lovely Tea." The New Yorker, 9 June 1956, pp. 36-40, 42, 44, 47-48. HT.
B21 "Thieves and Rascals." Esquire, July 1956, pp. 82, 85-86.
B22 "Bernadette." The New Yorker, 12 Jan. 1957, pp. 24-34. Rpt. trans. Peter Kleinhempel in Die weite Reise: Kanadische Erzahlungen und Kurzgeschichten. Ed. Ernst Bartsch. Berlin: Verlag Volk and Welt, 1974, n. pag. MHB.
B23 "An Emergency Case." The New Yorker, 16 Feb. 1957, pp. 34-36.
B24 "A Short Love Story." The Montrealer, June 1957, pp. 48-60, 62.
B25 "Jeux d'Ete." The New Yorker, 27 July 1957, pp. 30-34.
B26 "The Moabitess." The New Yorker, 2 Nov. 1957, pp. 42-46. MHB.
B27 "The Old Place." Texas Quarterly, 1, No. 2 (Spring 1958), 66-80.
B28 "Green Water, Green Sky." The New Yorker, 27 June 1959, pp. 22-29. GWGS.
B29 "Travellers Must Be Content." The New Yorker, 11 July 1959, pp. 27-34, 36, 38, 43-46, 48-49, 52. GWGS.
B30 "August." The New Yorker, 29 Aug. 1959, pp. 26-36, 38, 41-42, 44, 46, 51-52, 54, 56, 59-60, 62-63. GWGS.
B31 "Jorinda and Jorindel." The New Yorker, 19 Sept. 1959, pp. 38-42. HT.
B32 "Up North." The New Yorker, 21 Nov. 1959, pp. 46-48. HT.
B33 "Acceptance of Their Ways." The New Yorker, 30 Jan. 1960, pp. 25-28. MHB; EW.
B34 "When We Were Nearly Young." The New Yorker, 15 Oct. 1960, pp. 38-42.
B35 "Better Times." The New Yorker, 3 Dec. 1960, pp. 59-65.
B36 "Rose." The New Yorker, 17 Dec. 1960o, pp. 34-37.
B37 "Crossing France." The Critic, 19, No. 3 (Dec.- Jan. 1960-61), 15-18.
B38 "Two Questions." The New Yorker, 10 June 1961, pp. 30-36.
B39 "My Heart Is Broken." The New Yorker, 12 Aug. 1961, pp. 32-34. MHB; EW.
B40 "The Cost of Living." The New Yorker, 3 March 1962, pp. 34-40, 42, 45, 48, 51-52, 54, 59-60, 62, 67-68, 70, 75-76, 78, 81, 83-84, 87-88, 90. MHB.
B41 "Night and Day." The New Yorker, 17 March 1962, pp. 48-50.
B42 "One Aspect of a Rainy Day." The New Yorker, 14 April 1962, pp. 38-39.
B43 "The Hunter's Waking Thoughts." The New Yorker, 29 Sept. 1962, pp. 34-35.
B44 "Sunday Afternoon." The New Yorker, 24 Nov. 1962, pp. 52-58. MHB.
B45 "Willi." The New Yorker, 5 Jan. 1963, pp. 29-31.
B46 "Careless Talk." The New Yorker, 28 Sept. 1963, pp. 41-47.
B47 "An Unmarried Man's Summer." The New Yorker, i2 Oct. 1963, pp. 54-60, 62, 64, 67-68, 70, 72, 74, 77-78, 80, 82, 84. MHB; EW.
B48 "Ernst in Civilian Clothes." The New Yorker, 16 Nov. 1963, pp. 54-58. PJ.
B49 "The Ice Wagon Going Down the Street." The New Yorker, 14 Dec. 1963, pp. 54-62, 64, 66, 69-70, 72, 74-76, 79. MHB; HT.
B50 "An Autobiography." The New Yorker, I Feb. 1964, pp. 31-38, 40, 42, 45-46, 48, 53-54, 56. PJ.
B51 "The Circus." The New Yorker, 20 June 1964, pp. 38-40.
B52 "Paola and Renata." Southern Review, No. I (Winter 1965), pp. 199-209.
B53 "Virus X." The New Yorker, 30 Jan. 1965, pp. 29-40, 42, 44, 47-48, 50, 53-54, 56, 59-61- HT.
B54 "Orphans' Progress." The New Yorker, 3 April 1965, pp. 49-5I. HT.
B55 "In Transit." The New Yorker, 14 Aug. 1965, pp. 24-25.
B56 "The Statues Taken Down." The New Yorker, 9 Oct. 1965, pp. 53-56.
B57 "Questions and Answers." The New Yorker, 28 May 1966, pp. 33-38.
B58 "Vacances Pax." The New Yorker, 16 July 1966, pp. 26-29.
B59 "Bonaventure." The New Yorker, 30 July 1966, pp. 34-38, 40, 45, 48, 50-51, 54, 56-63. HT.
B60 "A Report." The New Yorker, 3 Dec. 1966, pp. 62-65.
B61 "The End of the World." The New Yorker, 10 June 1967, pp. 36-39. EW.
B62 "The Accident." The New Yorker, 28 Oct. 1967, pp. 55-59. FGT; EW.
B63 "The Sunday after Christmas." The New Yorker, 30 Dec. 1967, pp. 35-36.
B64 "April Fish." The New Yorker, 10 Feb. 1968, pp. 27-28.
B65 "Malcolm and Bea." The New Yorker, 23 March 1968, pp. 35-43. EW.
B66 "Saturday." The New Yorker, 8 June 1968, pp. 32-40. HT.
B67 "The Captive Niece." The New Yorker, 4 Jan. 1969, pp. 28-32.
B68 "Good Deed." The New Yorker, 22 Feb. 1969, pp. 35-41.
B69 "The Rejection." The New Yorker, 12 April 1969, pp. 42-44.
B70 "The Prodigal Parent." The New Yorker, 7 June 1969, 42-44. EW; HT.
B71 "The Wedding Ring." The New Yorker, 28 June 1969, pp. 41-42. EW.
B72 "The Old Friends." The New Yorker, 30 Aug. 1969, pp. 27-30. PJ.
B73 "New Year's Eve." The New Yorker, 10 Jan. 1970, pp. 25-30. EW.
B74 "In the Tunnel." The New Yorker, 18 Sept. 1971, pp. 34-47. EW; HT.
B75 "O Lasting Peace." The New Yorker, 8 Jan. 1972, pp. 34-40. PJ.
B76 "An Alien Flower." The New Yorker, 7 Oct. 1972, pp. 34-43. PJ.
B77 "His Mother." The New Yorker, 13 Aug. 1973, pp. 28-33. Rpt. in The Montreal Star, 15 Sept. 1979, pp. HI, H4. FFD.
B78 "The Latehomecomer." The New Yorker, 8 July 1974, pp. 31-40. FFD.
B79 "Irina." The New Yorker, 2 Dec. 1974, pp. 44-52. FFD.
B80 "The Four Seasons." The New Yorker, 16 June 1975, pp. 32-40, 43-46, 49. FFD.
B81 "In Youth Is Pleasure." The New Yorker, 24 Nov. 1975, pp. 46-54. HT.
B82 "Between Zero and One." The New Yorker, 8 Dec. 1975, pp. 38-47. HT.
B83 "Varieties of Exile." The New Yorker, 19 Jan. 1976, pp. 26-35. HT.
B84 "Voices Lost in Snow." The New Yorker, 5 April 1976, pp. 38-43. HT.
B85 "The Moslem Wife." The New Yorker, 23 Aug. 1976, pp. 28-42, 44-45. FFD.
B86 "Potter." The New Yorker, 21 March 1977, pp. 36-44, 47-48, 50, 53-54, 56, 61-62, 64, 66-68, 73-75. FFD.
B87 "The Doctor." The New Yorker, 20 June 1977, pp. 33-42. HT.
B88 "With a Capital T." A Special Issue on Mavis Gallant [Canadian Fiction Magazine, No. 28 (1978)], pp. 8-17. HT.
B89 "From the Fifteenth District." The New Yorker, 30 Oct. 1978, pp. 36-38. Rpt. in Harper's & Queen, March 1980, pp. 66, 68, 70. FFD.
B90 "The Burgundy Weekend." The Tamarack Review, No. 76 (Winter 1979), pp. 3-39.
B91 "Baum, Gabriel, 1935-( )." The New Yorker, 12. Feb. 1979, pp. 30-40, 43-44. FFD.
B92 "The Remission." The New Yorker, 13 Aug. 1979, pp. 28-38, 41-42, 44, 47-48, 50, 52-56, 58-59. FFD.
B93 "Speck's Idea." The New Yorker, 19 Nov. 1979, pp. 44-54, 57-58, 60, 63-64, 66, 69-70, 72, 75-76, 78, 83-84, 86, 91-95, 98-99.
B94 "A Revised Guide to Paris." The New Yorker, II Feb. 1980, pp. 30-32.
B95 "From Sunrise to Daybreak (A Year in the Life of an Emigre Review)." The New Yorker, 17 March 1980, pp. 34-36.
B96 "The Assembly." Harper's, May 1980, pp. 75-78.
B97 "Dido Flute, Spouse to Europe (Addenda to a Major Biography)." The New Yorker, 12 May 1980, p. 37.
B98 "From Gamut to Yalta." The New Yorker, 15 Sept. 1980, pp. 40-41.
B99 "Europe by Satellite." The New Yorker, 3 Nov. 1980, p. 47.
B100 "Mousse." The New Yorker, 22 Dec. 1980, p. 31.
B101 "Mau to Lew: The Maurie Ravel--Lewis Carroll Friendship." Exile, 7, Nos. 3-4 (1981), 220-30.
B102 "French Crenellation." The New Yorker, 9 Feb. 1981, p. 33.
B103 "A Painful Affair." The New Yorker, 16 March 1981, pp. 39-43.
B104 "This Space." The New Yorker, 6 July 1981, p. 35.
B105 "On with the New in France." The New Yorker, 10 Aug. 1981, p. 31.
B106 "La Vie Parisienne." The New Yorker, 19 Oct. 1981, p. 41.
B107 "Larry." The New Yorker, 16 Nov. 1981, pp. 50-52.
B108 "Slegfried's Memoirs." The New Yorker, 5 April 1982, pp. 41-43.
B109 "Treading Water." The New Yorker, 24 May 1981, p. 33.
B110 "A Flying Start." The New Yorker, 13 Sept. 1982, pp. 39-44.
B111 "Luc and His Father." The New Yorker, 4 Oct. 1982, pp. 40-50, 55-56, 58, 63-64, 68, 73-74.
B112 "Grippes and Poche." The New Yorker, 29 Nov. 1981, pp. 42-50.
B113 "A Recollection." The New Yorker, 22 Aug. 1983, pp. 18-31.
B114 "Rue de Lille." The New Yorker, 19 Sept. 1983, pp. 43-44.
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Source: Grant, Judith Skelton (compiler); . Part 1: Works By Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 180-203 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP1.
Item Number: ABCMA05MGP1000005002002001
Record: 156- Title:
- Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous; Reprinted anthology contributions: A selection
- Other Title:
- Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 1: Works By Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 180-203)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP1
p. 187-188 (2 p.) - Links:
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Source: Part 1: Works By Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 180-203
Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous; Reprinted anthology contributions: A selection
Grant, Judith Skelton (compiler)
B115 "August." In Best American Short Stories and the Yearbook of the American Short Story 1960. Ed. M. Foley and D. Burnett. Boston: Houghton Mifflin, 1960, pp. 64-101.
B116 "Bernadette." In Stories from The New Yorker I950-1960. New York: Simon & Schuster, 1960, pp. 96-118.
B117 "The Legacy." In Canadian Short Stories. Ed. Robert Weaver. Toronto: Oxford Univ. Press, 1960, pp. 350-70.
B118 "One Morning in June." In Sometimes Magic: A Collection of Outstanding Stories for the Teenage Girl. Ed. Hallie Burnett. New York: Platt & Munk, 1966, pp. 3-17.
B119 "Bernadette" and "My Heart Is Broken." In Canadian Short Stortes. 2nd ser. Ed. Robert Weaver. Toronto: Oxford Univ. Press, 1968, pp. 60-93, 94-104.
B120 "The End of the World." In Canadian Winter's Tales. Ed. Norman Levine. Toronto: Macmillan, 1968, pp. 103-13.
B121 "The Accident." In Canadian Writing Today. Ed. Mordecai Richler. Harmondsworth, Eng.: Penguin, 1970, pp. 260-72.
B122 "Acceptance of Their Ways." In Great Canadian Short Stories: An Anthology. Ed. Alec Lucas. Laurel. New York: Dell, 1971, pp. 203-11.
B123 "My Heart Is Broken." Four Hemispheres: An Anthology of English Stories from Around the World. Ed. Wllham H. New. Toronto: Copp Clark, 1971, pp. 162-68.
B124 "My Heart Is Broken." In Contemporary Voices: The Short Story in Canada. Ed. Donald Stephens. Scarborough, Ont. : Prentice-Hall, 1972, pp. 8-13.
B125 "My Heart Is Broken." In The Evolution of Canadian Literature an Enghsh 1945-1970. Ed. Paul Denham. Toronto: Holt, Rinehart and Winston, 1973, pp. 134-38.
B126 "A Fairly Good Time" [excerpt]. In The Oxford Anthology of Canadian Literature. Ed. Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 137-42.
B127 "Sunday Afternoon." In A Woman's Place: An Anthology of Short Stories. Ed. L. M. Schulman. New York: Macmillan, 1974, pp. 42-59.
B128 "The Accident." In Modern Canadian Stories. Ed. John Stevens. Toronto: Bantam, 1975, pp. 126-40.
B129 "An Autobiography." In Here and Now: Best Canadian Stories. Ed. Clark Blaise and John Metcalf. Ottawa: Oberon, 1977, pp. 19-38.
B130 "Acceptance of Their Ways." In Women and Fiction 2: Short Stories By and About Women. Ed. Susan Cahill. Mentor. New York: New American Library, 1978, pp. 287-95.
B131 "Irina." In Canadian Short Stortes. 3rd ser. Ed. Robert Weaver. Toronto: Oxford Univ. Press, 1978, pp. 82-104.
B131 "With a Capital T." In 79: Best Canadian Short Stories. Ed. Clark Blaise and John Metcalf. Ottawa: Oberon, 1979, pp. 38-51.
B133 "Bernadette." In The Penguin Book of Canadian Short Stortes. Ed. Wayne Grady. Markham, Ont.: Penguin, 1980, pp. 206-29.
B134 "The Remission" and "Speck's Idea." In The Best American Short Stortes, 1980. Ed. Stanley Elkin with Shannon Ravenel. Boston: Houghton Mifflin, 1980, pp. 80-118, 119-58.
B135 "Saturday." In Stories of Quebec. Ed. Douglas Daymond and Leslie Monkman. Ottawa: Oberon, 1980, pp. 80-100.
B136 "Speck's Idea." In 80: Best Canadian Short Stories. Ed. Clark Blaise and John Metcalf. Ottawa: Oberon, 1980, pp. 47-98.
B137 "The Assembly." In The Best American Short Stories 1981. Ed. Hortense Calisher with Shannon Ravenel. Boston: Houghton Mifflin, 1981, pp. 150-57.
B138 "The Assembly." In 81: Best Canadian Short Stories. Ed. John Metcalf and Leon Rooke. Ottawa: Oberon, 1981, pp. 36-44.
B139 "The End of the World." In Best Canadian Stortes. Ed. John Stevens. Seal. Toronto: McClelland and Stewart-Bantam, 1981, pp. 225-32.
B140 "The Accident." In Introductton to Fiction. Ed. Jack David and Robert Lecker. Toronto: Holt, Rinehart and Winston, 1982, pp. 217-22.
B141 "Baum, Gabriel, 1935-( )," "His Mother," and "What Is Style?". In Making It New: Contemporary Canadian Stories. Ed. John Metcalf. Toronto: Methuen, 1982, pp. 39-60, 61-71, 72-75.
B142 "The Ice Wagon Going Down the Street" and "In Youth Is Pleasure." In The Penguin Book of Modern Canadian Short Stories. Ed. Wayne Grady. Markham, Ont.: Penguin, 1982, pp. 266-89, 318-34.
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Source: Grant, Judith Skelton (compiler); . Part 1: Works By Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 180-203 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP1.
Item Number: ABCMA05MGP1000005002002002
Record: 157- Title:
- Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous; Articles
- Other Title:
- Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 1: Works By Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 180-203)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP1
p. 189-200 (12 p.) - Links:
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Source: Part 1: Works By Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 180-203
Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous; Articles
Grant, Judith Skelton (compiler)
Note: The Standard [Montreal], established in 1905, was composed of four separate sections: a newspaper, a comics and photographic section, a magazine, and a review section. In September of 1951 The Standard Magazine and the photographic section separated from the newspaper to become Weekend Picture Magazine, later known as Weekend Magazine. Mavis Gallant worked for The Standard [Montreal] from 1944 to 1950 and she pubhshed extensively in the review section, the photographic section, the magazine, and the newspaper. Her articles for the photographic section, which was initially called Rotogravure and later Photonews, were prepared with a photographer. Although Gallant did not take the pictures, they complete the story; hence, we have added page references in square brackets for the photographic part of such articles.
B143 "Meet Johnny: Sturdy and Tow-headed, Johnny Is a City Kid, Wise beyond His Years." The Standard [Montreal], 2 Sept. 1944, Sec. Rotogravure, p. 12 [and pictures pp. 13-15].
B144 "Sunday Boat Trip: Seven Montreal Kids Get Out of Town for First Time." The Standard [Montreal], 16 Sept. 1944, Sec. Rotogravure, p. 20 [and pictures pp. 21-23].
B145 "Opening Night: Montreal's First Youth Centre Is Taken Over As More Than 400 Teen-Agers Crowd Ist Dance." The Standard [Montreal], 14 Oct. 1944, Sec. Rotogravure, pp. 8, 9 [and pictures pp. 10, 11].
B146 "Master Jeweller: In Montreal Workshop, He Moulds Metal, Sets Stones." The Standard [Montreal], 28 Oct. 1944, Sec. Rotogravure, pp. 8-9.
B147 "Claire Gagnier: Tiny, Talented, She Is French-Canada's Favorite Staging Star." The Standard [Montreal], 4 Nov. 1944, Sec. Rotogravure, p. 8 [and pictures pp. 10-11].
B148 "Signal Flags: Indispensable in War, They Are Ships' Oldest Method of Communication." The Standard [Montreal], 18 Nov. 1944, Sec. Rotogravure, p. 12 [and pictures p. 13].
B149 "Radio Finds Its Voice." The Standard Magazine [The Standard] [Montreal], 9 Dec. 1944, pp. 3, 19.
B150 "Maria Chapdelaine: Canada's Great Novel Was Written in Scarcely-Changed Quebec Village." The Standard [Montreal], 13 Jan. 1945, Sec. Rotogravure, pp. 6, 8-11.
B151 "Family Allowances." The Standard [Montreal], 5 May 1945, Sec. Rotogravure, pp. 12-13 [and pictures pp. 14-17].
B152 "Dilemma in the Shipyards." The Standard Magazine [The Standard] [Montreal], 9 June 1945, pp. 6, 19.
B153 "Duncan & MacLennan: Writers: Two Canadians Write about Their Own Country." The Standard [Montreal], 9 June 1945, Sec. Rotogravure, p. 16 [and pictures pp. 17-19].
B154 "St. Jean-Baptiste Day: Quebec Village Celebrates Traditional French Canadian Holiday." The Standard [Montreal], 7 July 1945, Sec. Rotogravure, p. 14 [and pictures p. 15].
B155 "Stalag Diary: Captured Canadian Airman Recorded Life in German Prison Camp." The Standard [Montreal], 14 July 1945, Sec. Rotogravure, pp. 2, 4, 6 [and pictures pp. 3, 5].
B156 "Report on a Repat: Canadian Army Private Makes an Easy Transition to Civilian Life." The Standard [Montreal], 28 July 1945, Sec. Rotogravure, pp. 2, 4-5 [and pictures pp. 3, 6, 8-9].
B157 "'Un Homme et Son Peche: A Miser's Greed Becomes the Theme of Quebec's Most Popular Radio Program." The Standard [Montreal], 8 Sept. 1945, Sec. Rotogravure, pp. 18-19 [and pictures pp. 20-2l].
B158 "Camp Macdonald: It Teaches Adult Educators Techniques That Help Democracy Work." The Standard [Montreal], 15 Sept. 1945, Sec. Rotogravure, p. 13 [and pictures pp. 14-17].
B159 "These Are the First Impressions the War Brides Formed of Canada." The Standard [Montreal], 13 Oct. 1945, Sec. Rotogravure, p. 4 [and pictures pp. 5-6, 8-9].
B160 "'The Bright Star': School Children Act Out the Christmas Story." The Standard [Montreal], 22 Dec. 1945, Sec. Rotogravure, p. 13 [and pictures pp. 14-13].
B161 "The Class of '39: Six Years after Graduation, Here Is What Some of Them Are Doing." The Standard [Montreal], 12 Jan. 1946, Sec. Rotogravure, pp. 2-6, 8.
B162 "Canadian Story: Gabrielle Roy's First Novel, 'Bonheur d'Occasion,' Deals with the War and a Working-Class Disrict." The Standard [Montreal], 2 March 1946, Sec. Rotogravure, p. 3 [and pictures pp. 4-6, 8-9].
B163 "Don't Call Me 'Warbridde': The Likes and Dislikes of an English Girl Who Has Been a Canadian Housewife for a Year Now." The Standard Magazine [The Standard] [Montreal], 2 March 1946, pp. 5, 13.
B164 "What Is This Thing Called Jazz?". The Standard Magazine [The Standard] [Montreal], 23 March 1946, pp. 12-13.
B165 "Why Are We Canadians So Dull?". The Standard Magazine [The Standard] [Montreal], 30 March 1946, pp. 2-3.
B166 "Where Are Canada's Libraries? Our Free Reading Facilities Are among the World's Worst." The Standard Magazine [The Standard] [Montreal], 8 May 1946, pp. 3, 8.
B167 "What Gets Cut Out of Movies and Why." The Standard Magazine [The Standard] [Montreal], 8 June 1946, pp. 12-13.
B168 "Progressive School: St. George's in Montreal Is an Example of Education Geared to the Student." The Standard [Montreal], Sec. Rotogravure, 22 June 1946, p. 12 [and pictures pp. 13-17].
B169 "Give the Kid a Gory Story: That Seems to Be the Motto of Those Who Turn Out Children's Fairy Tales." The Standard Magazine [The Standard] [Montreal], 29 June 1946, pp. 9, 15.
B170 "Above the Crowd in French Canada." Harper's Bazaar, July 1946, pp. 58-59, 128-29. An unsigned article.
B171 "Hillside Homes." The Standard Magazine [The Standard] [Montreal], 13 July 1946, pp. 12-13.
B172 "Traders in Fear." The Standard Magazine [The Standard] [Montreal], 24 Aug. 1946, pp. 9-10.
B173 "Which Do You Want? Everyone Talks of Town Planning, But Everyone Passes the Buck." The Standard Magazine [The Standard] [Montreal], 14 Sept. 1946, pp. 12-13.
B174 "Pottery: An Old Craft That Can Be Turned into an Inexpensive Hobby." The Standard Magazine [The Standard] [Montreal], 5 Oct. 1946, pp. 14-15.
B175 "French-Canada's Dorothy Dix." The Standard Magazine [The Standard] [Montreal], 19 Oct. 1946, p. II.
B176 "Fresco Class: Students Learn Ancient Mural Technique." The Standard [Montreal], Sec. Rotogravure, 9 Nov. 1946, p. 12 [and pictures p. 13].
B177 "Look-and-See Method: New Way of Teaching Grade 1 to Read." The Standard [Montreal], Sec. Rotogravure, 23 Nov. 1946, p. 12 [and pictures p. 13].
B178 "Why Are Book Prices So High? The Canadian Reader Pays and Pays while Publishers Pass the Buck." The Standard Magazine [The Standard][Montreal], 23 Nov. 1946, pp. 3, 20.
B179 "Mining Is a Tough Job." The Standard Magazine [The Standard] [Montreal], 30 Nov. 1946, pp. 12, 13.
B180 "Turning on the Waterworks: Why Is It That Women Use Weeping as a Weapon, while Men Would Sooner Be Found Dead Than Crying." The Standard Magazine [The Standard] [Montreal], 25 Jan. 1947, pp. 3, 8.
B181 "Bringing Up Baby: Toss Out the Books and Charts, the Experts Say--Return to Grandma's Ways." The Standard Magazine [The Standard] [Montreal], 8 Feb. 1947, pp. 4-5.
B182 "Fear in Children." The Standard [Montreal], Sec. Rotogravure, 8 Feb. 1947, pp. 3-6.
B183 "The Joke's On Us: A Survey of Cartoons Shows That We Love to Poke Fun at Ourselves." The Standard Magazine [The Standard] [Montreal], 1 March 1947, pp. II, 14, 17.
B184 "Freud or Double-Talk? With the Exception of Atomic Energy, No Subject Has Been Abused Like Psychoanalysis." The Standard Magazine [The Standard] [Montreal], 29 March 1947, pp. 3, 14.
B185 "Words, Thrills and Arpeggios, Canada's Isolated Talents." The Standard Magazine [The Standard][Montreal], 5 April 1947, pp. 8-9.
B186 "Is Yours a Childless Marriage? Modern Medical Treatment Proves That Many Sterility Cases Are Not Hopeless." The Standard Magazine [The Standard] [Montreal], 17 May 1947, pp. 3, 14.
B187 "Court Chronicler: Nantel's Column Is Full of Anecdotes, Dialogue, Trivia-- and Often a Few Facts." The Standard Magazine [The Standard] [Montreal], 24 May 1947, pp. 9, 22.
B188 "Veteran Show: Six Montreal Students Exhibit Work on Their Own." The Standard [Montreal], 7 June 1947, Sec. Rotogravure, p. 20 [and pictures pp. 21-22].
B189 "Casavant Factory: Famous Church Organs Made in Canada." The Standard [Montreal], 19 July 1947, Sec. Rotogravure, p. 10 [and pictures pp. 12-14].
B190 "Social Workers: They Work Hard Despite Low Pay and Prejudices of People Who Accuse Them of Meddling." The Standard Magazine [The Standard] [Montreal], 26 July 1947, pp. 4, 15.
B191 "Hey, Lee-Roy! The Tourists Are Here." The Standard Magazine [The Standard] [Montreal], 9 Aug. 1947, p. 6 [and pictures p. 7].
B192 "Felix's Uncles." The Standard Magazine [The Standard] [Montreal], 30 Aug. 1947, p. 22.
B193 "Is Romance Killing Your Marriage? A Phoney Myth about Love Is Responsible for Today's Staggering Divorce Rate." The Standard Magazine [The Standard] [Montreal], 6 Sept. 1947, pp. 3, 22.
B194 "Frontier Farmers." The Standard Magazine [The Standard] [Montreal], 27 Sept. 1947, pp. 6-7, 10.
B195 "Are They Canadians?". The Standard Magazine [The Standard] [Montreal], II Oct. 1947, pp. 6-7.
B196 "On the Air." The Standard Review [The Standard] [Montreal], 11 Oct. 1947, p. 13.
B197 "On the Air." The Standard [Montreal], 18 Oct. 1947, p. 13.
B198 "On the Air." The Standard Review [The Standard] [Montreal], 18 Oct. 1947, p. 13.
B199 "On the Air." The Standard [Montreal], 25 Oct. 1947, p. 13.
B200 "On the Air." The Standard Review [The Standard] [Montreal], 25 Oct. 1947, p. 12.
B201 "Problem Children: Psychiatry Examines Root of Behavior Difficulties." The Standard [Montreal], 25 Oct. 1947, Sec. Rotogravure, pp. 16-17 [and pictures pp. 18-20].
B202 "On the Air." The Standard [Montreal], 1 Nov. 1947, p. 13.
B203 "On the Air." The Standard Review [The Standard] [Montreal], 1 Nov. 1947, p. 12.
B204 "On the Air" The Standard [Montreal], 8 Nov. 1947, p. 13. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 8 Nov. 1947, p. 12.
B205 "On the Air." The Standard [Montreal], 15 Nov. 1947, p. 13. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 15 Nov. 1947, p. 10.
B206 "Finnish Pastor: He Leads His Countrymen in Montreal." The Standard [Montreal], Sec. Rotogravure, 22 Nov. 1947, p. 12 [and pictures pp. 13-15].
B207 "On the Air." The Standard [Montreal], 22 Nov. 1947, p. 13. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 22 Nov. 1947, p. 12.
B208 "On the Air." The Standard [Montreal], 29 Nov. 1947, p. 13. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 29 Nov. 1947, p. 13.
B209 "On the Air." The Standard [Montreal], 6 Dec. 1947, p. 13.
B210 "On the Air." The Standard Review [The Standard] [Montreal], 6 Dec. 1947, p. 15.
B211 "Temper! When Annoyed Do You Tell People Off, Sulk or Fly into a Rage? Here's What the Psychiatrists Advise." The Standard Magazine [The Standard] [Montreal], 6 Dec. 1947, pp. 3, 10.
B212 "On the Air" The Standard [Montreal], 13 Dec. 1947, p. 13. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 13 Dec. 1947, p. 15.
B213 "On the Air" The Standard [Montreal], 20 Dec. 1947, p. 13. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 20 Dec. 1947, p. 5.
B214 "On the Air" The Standard [Montreal], 27 Dec. 1947, p. 13. Rpt. in The Standard Review [The Standard] [Montreal], 27 Dec 1947, p. 7.
B215 "On the Air" The Standard [Montreal], 3 Jan. 1948, p. 13. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 3 Jan. 1948, p. 5.
B216 "What Lies Ahead? Textile Worker." The Standard Magazine [The Standard] [Montreal], 3 Jan. 1948, p. 7. Gallant's section, "Textile Worker," is part of a larger work entitled "What Lies Ahead?" which was written by a number of people.
B217 "On the Air" The Standard [Montreal], 10 Jan. 1948, p. 13.
B218 "On the Air." The Standard Review [The Standard] [Montreal], 10 Jan. 1948, p. 7.
B219 "On the Air." The Standard [Montreal], 17 Jan. 1948, p. 8. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 17 Jan. i948, p. 7.
B220 "On the Air" The Standard [Montreal], 24 Jan. 1948, p. 8.
B221 "On the Air." The Standard Review [The Standard] [Montreal], 24 Jan. 1948, p. 4.
B222 "On the Air." The Standard [Montreal], 31 Jan. 1948, p. 8. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 31 Jan. 1948, p. 13.
B223 "On the Air." The Standard [Montreal], 7 Feb. 1948, p. 8.
B224 "On the Air" The Standard Review [The Standard] [Montreal], 7 Feb. 1948, p. 5.
B225 "On the Air." The Standard [Montreal], 14 Feb. 1948, p. 8.
B226 "On the Air" The Standard Revtew [The Standard] [Montreal], 24 Feb. 1948, p. 7.
B227 "On the Trail before Five: How a Few Hardy Women Trekked into the Yukon to Sell a Nursing Order." The Standard Magazine [The Standard] [Montreal], 14 Feb. 1948, pp. 9, 16.
B228 "Penny Carnival: Parents and Teachers Hold a Party for the Kids." The Standard [Montreal], 14 Feb. 1948, Sec. Rotogravure, p. 15.
B229 "On the Air." The Standard [Montreal], 21 Feb. 1948, p. 8.
B230 "On the Air." The Standard Review [The Standard] [Montreal], 21 Feb. 1948, p. 4.
B231 "On the Air." The Standard [Montreal], 28 Feb. 1948, p. 8. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 28 Feb. 1948, p. 12.
B232 "On the Air." The Standard [Montreal], 6 March 1948, p. 8. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 6 March 1948, p. 12.
B233 "On the Air." The Standard [Montreal], 13 March 1948, p. 8. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 13 March 1948, p. 4.
B234 "On the Air." The Standard [Montreal], 20 March 1948, p. 7. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 20 March 1948, p. 7.
B235 "On the Air." The Standard [Montreal], 27 March 1948, p. 8.
B236 "On the Air." The Standard Review [The Standard] [Montreal], 27 March 1948, p. 12.
B237 "Bi-Lingual Library: French and English Kids Share Unique Bookroom." The Standard [Montreal], 3 April 1948, Sec. Rotogravure, p. 13 [and pictures pp. 14-15].
B238 "On the Air." The Standard [Montreal], 3 April 1948, p. 8. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 3 April 1948, p. 4.
B239 "On the Air." The Standard [Montreal], lO April 1948, p. 8. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 10 April 1948, p. 13.
B240 "What's Your Beef: Radio Show Lets the Public Air Its Grievances." The Standard [Montreal], 10 April 1948, Sec. Rotogravure pp. 12-13 [and pictures pp. 14-15].
B241 "On the Air" The Standard [Montreal], 17 April 1948, p. 8.
B242 "On the Air" The Standard Review [The Standard] [Montreal], 17 April 1948, p. 16.
B243 "Sarah of Saskatchewan: Professor Paul Hiebert Has at Last Brought Deserving Fame to the Late Bard of the West." The Standard Magazine [The Standard] [Montreal], 17 April 1948, pp. 7, 14, 17.
B244 "On the Air." The Standard [Montreal], 24 April 1948, p. 15.
B245 "On the Air." The Standard Review [The Standard] [Montreal], 24 April 1948, p. 7.
B246 "Our Shameful Old People's Homes: Over-Crowding, Mismanagement and Lack of Funds Add to the Misery of Lonely Inmates." The Standard Magazine [The Standard] [Montreal], 24 April 1948, pp. 3, 10, 22.
B247 "On the Air." The Standard [Montreal], 1 May 1948, p. 15.
B248 "On the Air." The Standard Review [The Standard] [Montreal], 1 May 1948, p. 7.
B249 "On the Air." The Standard [Montreal], 8 May 1948, p. 15. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 8 May 1948, p. 4.
B250 "On the Air." The Standard [Montreal], 15 May 1948, p. 17.
B251 "On the Air." The Standard Review [The Standard] [Montreal], 15 May 1948, p. 8.
B25IA "On the Air" The Standard [Montreal], 22 May 1948, p. 8.
B252 "On the Air." The Standard Review [The Standard] [Montreal], 22. May 1948, p. 5.
B253 "On the Air." The Standard Review [The Standard] [Montreal], 29 May 1948, p. 5.
B254 "On the Air." The Standard [Montreal], 31 May 1948, p. 13. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 31 May 1948, p. 5.
B255 "Modern Church: A Small Anglican Parish in Montreal Tries Something New in Architecture." The Standard [Montreal], 5 June 1948, Sec. Rotogravure, p. 27 [and pictures pp. 28-29].
B256 "On the Air." The Standard [Montreal], 5 June 1948, p. 13.
B257 "On the Air." The Standard Review [The Standard] [Montreal], 5 June 1948, p. 13.
B258 "An Art Curator and His Critics: Robert Tyler Davis Stirred Up a Hornet's Nest When He Took Over Montreal's Largest Gallery." The Standard Magazine [The Standard] [Montreal], 12 June 1948, pp. 3, 16, 22.
B259 "On the Air" The Standard [Montreal], 12. June 1948, p. 13.
B260 "On the Air." The Standard Review [The Standard] [Montreal], 12 June 1948, p. 16.
B261 "On the Air" The Standard [Montreal], 19 June 1948, p. 13.
B262 "On the Air." The Standard Review [The Standard] [Montreal], 19 June 1948, p. 6.
B263 "Amateur Magicians: Their Motto: 'Have You Seen This One?'." The Standard [Montreal], 26 June 1948, Sec. Rotogravure, p. 8 [and pictures p. 10].
B264 "On the Air." The Standard [Montreal], 26 June 1948, p. 13. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 26 June 1948, p. 4.
B265 "On the Air" The Standard [Montreal], 3 July 1948, p. 13. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 3 July 1948, P. 7.
B266 "The Town Below." The Standard Magazine [The Standard] [Montreal], 17 July 1948, pp. II, 15.
B267 "Doctors' Dollar Boom: High Fees Keep Medicos in Cities While Rural Populations Suffer from a Shortage." The Standard Magazine [The Standard] [Montreal], 24 July 1948, pp. 9, 15.
B268 "On the Air." The Standard [Montreal], 31 July 1948, p. 13. Rpt. (excerpt) in The Standard Review [The Standard] [Montreal], 31 July 1948, p. 7.
B269 "On the Air." The Standard [Montreal], 7 Aug. 1948, p. 5.
B270 "On the Air." The Standard [Montreal], 14 Aug. 1948, p. 5.
B271 "On the Air" The Standard [Montreal], 21 Aug. 1948, p. 5.
B272 "DP Test Case--A Failure: Here Is the Story of 100 Poles Who Immigrated to Canada." The Standard Magazine [The Standard] [Montreal], 28 Aug. 1948, pp. 3, 16-17, 22.
B273 "On the Air." The Standard [Montreal], 28 Aug. 1948, p. 5.
B274 "Family Doctor: Dr. George Hall Has Delvered 3,000 New Citizens in 50 Years." The Standard Magazine [The Standard] [Montreal], 4 Sept. 1948, pp. 4, 22.
B275 "On the Air." The Standard Review [The Standard] [Montreal], 4 Sept. 1948, p. 7.
B276 "Don't Fire That Man! Today Alert Firms See Poor Work as a Symptom of a Problem." The Standard Magazine [The Standard] [Montreal], II Sept. 1948, pp. 3, 10, 22.
B277 "On the Air." The Standard Review [The Standard] [Montreal], II Sept. 1948, p. 13.
B278 "On the Air." The Standard Review [The Standard] [Montreal], 18 Sept. 1948, p. 6.
B279 "On the Air." The Standard Review [The Standard] [Montreal], 25 Sept. 1948, p. 9.
B280 "On the Air." The Standard Review [The Standard] [Montreal], 2 Oct. 1948, p. 5.
B281 "Red Feather Work: Here Is What You Pay For When You Subscribe." The Standard [Montreal], 2 Oct. 1948, Sec. Rotogravure, p. 19 [and pictures pp. 20-21].
B282 "Design Quiz: With Thousands of Average Opinions on Record It Will Give a Valuable Clue to Public Taste." The Standard [Montreal], 9 Oct. 1948, Sec. Rotogravure, pp. 12, 31 [and pictures pp. 13-14].
B283 "On the Air." The Standard Review [The Standard] [Montreal], 9 Oct. 1948, p. 13.
B284 "On the Air." The Standard Review [The Standard] [Montreal], i6 Oct. 1948, p. 7.
B285 "On the Air." The Standard Review [The Standard] [Montreal], 23 Oct. 1948, p. 7.
B286 "Dreams: They Baffle the Human Race But They Absorb Worries and Provide Conversation." The Standard Magazine [The Standard] [Montreal], 30 Oct. 1948, pp. 5, II.
B287 "On the Air." The Standard [Montreal], 30 Oct. 1948, p. 5.
B288 "Art for the Family Pocketbook: You Can Buy Free Paintings on a Limited Budget, if You Follow These Commonsense Rules." The Standard Magazine [The Standard] [Montreal], 6 Nov. 1948, pp. 5, 22.
B289 "On the Air." The Standard Review [The Standard] [Montreal], 6 Nov. 1948, p. 8.
B290 "On the Air." The Standard Review [The Standard] [Montreal], 13 Nov. 1948, p. 4.
B291 "Secret Audience." The Standard Magazine [The Standard] [Montreal], 13 Nov. 1948, p. 17.
B292 "On the Air." The Standard [Montreal], 20 Nov. 1948, p. 9.
B293 "Fiorenza Charms the Politicians: When the PCS Picked George Drew They Told Him He Was Lucky His Wife Was Not Running Against Him." The Standard Magazine [The Standard] [Montreal], 2-7 Nov. 1948, pp. 4, 22.
B294 "On the Air." The Standard [Montreal], 27 Nov. 1948, p. 7.
B295 "On the Air." The Standard Review [The Standard] [Montreal], 4 Dec. 1948, p. 6.
B296 "On the Air." The Standard [Montreal], II Dec. 1948, p. 5.
B297 "On the Air." The Standard Review [The Standard] [Montreal], 18 Dec. 1948, p. 6.
B298 "Your Child Looks at You: He Thinks You Yell Too Much, Have Uneven Discipline and Act Silly at Parties. He's Sensitive and Doesn't Like Sitters." The Standard Magazine [The Standard] [Montreal], 18 Dec. 1948, pp. 3-4.
B299 "On the Air." The Standard Review [The Standard] [Montreal], 25 Dec. 1948, p. 4.
B300 "On the Air." The Standard [Montreal], 1 Jan. 1949, p. 13. Rpt. in The Standard Review [The Standard] [Montreal], 1 Jan. 1949, p. 4.
B301 "Home Permanent: Enterprising Montreal Twins Show How It's Done." The Standard [Montreal], 8 Jan. 1949, Sec. Rotogravure, p. 6 [and pictures p. 7].
B302 "On the Air." The Standard [Montreal], 8 Jan. 1949, p. 13. Rpt. in The Standard Review [The Standard] [Montreal], 8 Jan. 1949, p. 4.
B303 "On the Air." The Standard [Montreal], 15 Jan. 1949, p. 13.
B304 "On the Air." The Standard Review [The Standard] [Montreal], 15 Jan. 1949, p. 6.
B305 "Boarding School: Here's How Girls Live at Toronto's Bishop Strachan." The Standard [Montreal], 22. Jan. 1949, Sec. Rotogravure, p. 2. [and pictures pp. 3-8].
B306 "On the Air." The Standard Review [The Standard] [Montreal], 22 Jan. 1949, p. 5.
B307 "800,000 Housing Headaches: Nearly a Million Canadian Families Lack Living Space--The Payoff Is Broken Homes." The Standard Magazine [The Standard] [Montreal], 29 Jan. 1949, pp. 3, 14.
B308 "On the Air." The Standard [Montreal], 5 Feb. 1949, p. 23. Rpt. in The Standard Review [The Standard] [Montreal], 5 Feb. 1949, p. 6.
B309 "On the Air." The Standard [Montreal], 12 Feb. 1949, p. 13. Rpt. in The Standard Review [The Standard] [Montreal], 12 Feb. 1949, p. 5.
B310 "On the Air." The Standard [Montreal], 19 Feb. 1949, p. 13.
B311 "On the Air." The Standard [Montreal], 26 Feb. 1949, p. 13. Rpt. in The Standard Review [The Standard] [Montreal], 26 Feb. 1949, p. 7.
B312 "Women Who Worry Toronto: The High-Strung Inmates of Mercer Reformatory Are a Constant Subject of Debate." The Standard Magazine [The Standard] [Montreal], 26 Feb. 1949, pp. 8, 10.
B313 "On the Air" The Standard [Montreal], 5 March 1949, p. 13.
B314 "On the Air" The Standard Review [The Standard] [Montreal], 5 March 1949, p. 4.
B315 "On the Air" The Standard [Montreal], 12 March 1949, p. 15. Rpt. in The Standard Review [The Standard] [Montreal], 12 March 1949, p. 5.
B316 "On the Air" The Standard [Montreal], 19 March 1949, p. 15. Rpt. in The Standard Review [The Standard] [Montreal], 19 March 1949, p. 7.
B317 "On the Air." The Standard [Montreal], 26 March 1949, p. 15. Rpt. in The Standard Review [The Standard] [Montreal], 26 March 1949, p. 7.
B318 "British Cars: Montreal Sees First Showing of Canadian Market Bids." The Standard [Montreal], 2 April 1949, Sec. Rotogravure, p. 17 [and pictures pp. 18-19].
B319 "On the Air." The Standard [Montreal], 2 April 1949, p. 15. Rpt. in The Standard Review [The Standard] [Montreal], 2 April 1949, p. 7.
B320 "Panic: Mass Fear Can Turn Ordinary People into a Mob. The Result Is Often Mass Tragedy." The Standard Magazine [The Standard] [Montreal], 2 April 1949, pp. 3-4.
B321 "On the Air." The Standard [Montreal], 9 April 1949, p. 13. Rpt. in The Standard Review [The Standard] [Montreal], 9 April 1949, p. 5.
B322 "On the Air" The Standard [Montreal], 16 April 1949, p. 13. Rpt. in The Standard Review [The Standard] [Montreal], 16 April 1949, p. 5.
B323 "Bachelors Aren't All Eligible: If They Are Over 32, They May Make Problem Husbands. Here Are Some Reasons Why." The Standard Magazine [The Standard] [Montreal], 23 April 1949, pp. 3, 14, 15.
B324 "On the Air." The Standard [Montreal], 23 April 1949, p. 15. Rpt. in The Standard Review [The Standard] [Montreal], 23 April 1949, p. 4.
B325 "On the Air" The Standard [Montreal], 30 April 1949, p. 15.
B326 "On the Air." The Standard Review [The Standard] [Montreal], 30 April 1949, p. 4.
B327 "On the Air" The Standard [Montreal], 7 May 1949, p. 15. Rpt. in The Standard Review [The Standard] [Montreal], 7 May 1949, p. 6.
B328 "On the Air." The Standard [Montreal], 14 May 1949, p. 13. Rpt. in The Standard Review [The Standard] [Montreal], 14 May 1949, p. 7.
B329 "On the Air." The Standard [Montreal], 21 May 1949, p. 15. Rpt. in The Standard Review [The Standard] [Montreal], 21 May 1949, p. 9.
B330 "On the Air." The Standard [Montreal], 28 May 1949, p. 15.
B331 "Stage Star Nostalgic about His Old Roles." The Standard [Montreal], II June 1949, p. 17.
B332 "'Don't Call Me Cute' Begs Finian's Elf." The Standard [Montreal], 25 June 1949, p. 17.
B333 "Learning to Swim: Six-Year-Old Twins Show Steps Preceding First Attempt at Dog Paddle." The Standard [Montreal], 25 June 1949, Sec. Rotogravure, p. 22 [and pictures p. 25].
B334 "Art Hoaxes That Baffle the Highbrow Critics." The Standard Magazine [The Standard] [Montreal], 23 July 1949, p. 17.
B335 "Making Corsets: Millions Couldn't Live Without One." The Standard [Montreal], 30 July 1949, Sec. Photonews, p. 20 [and pictures p. 21].
B336 "Five Not-So-Carefree Teenagers: 'Where Could They Go Wxthout Being Stared At?' Asks Papa Dionne, Defending the Strange Life of Seclusion the 15-Year-Old Quints Live." The Standard Magazine [The Standard] [Montreal], 6 Aug. 1949, pp. 3-4, 31.
B337 "Les Compagnons Shine in Corneille Play." The Standard [Montreal], 6 Aug. 1949, p. 14.
B338 "Music Takes Spotlight at Local Festival." The Standard [Montreal], 6 Aug. 1949, p. 14. Signed: M. G.
B339 "Tourist Town: Americans Are Quebec City's Gold Mine." The Standard [Montreal], 6 Aug. 1949, Sec. Photonews, p. 2 [and pictures pp. 3-6].
B340 "Puppet Show: Young Couple Entertain Montreal Children." The Standard [Montreal], 3 Sept. 1949, Sec. Photonews, p. 8 [and pictures pp. 9-10].
B341 "Compagnons Open Season in Weak Play: Troupe Struggles in Spanish Work with Poor Results." The Standard [Montreal], 1 Oct. 1949, p. 13.
B342 "Culture on the Air." The Standard Magazine [The Standard] [Montreal], 8 Oct. 1949, pp. 6-7.
B343 "Laughton Meets Press, Takes Them for Actors." The Standard [Montreal], 8 Oct. 1949, p. 14.
B344 "Modern House." The Standard [Montreal], 8 Oct. 1949, Sec. Photonews, p. 27 [and pictures pp. 28-29].
B345 "Love Is a Motive for Murder: Crimes of Passion Have Been Making Fantastic News of Late and Most of the Victims Have Been Women." The Standard Magazine [The Standard] [Montreal], 29 Oct. 1949, pp. 5-6.
B346 "Boom Town Out of Work." The Standard Magazine [The Standard] [Montreal], 26 Nov. 1949, pp. 7, 20.
B347 "Crowded Schools: They Are the Result of War Babies, Population Trends and Immigration." The Standard [Montreal], 26 Nov. 1949, Sec. Photonews, p. 2 [and pictures pp. 3-8].
B348 "Store Santa: To Thousands of Kids He's the Real Thing." The Standard [Montreal], 24 Dec. 1949, Sec. Photonews, p. 18 [and pictures p. 19].
B349 "Shyness Isn't Normal: It Can Make a Child Lonely and Unhappy and Follow Him Through Life; Moreover, It's Unnecessary." The Standard Magazine [The Standard] [Montreal], 31 Dec. 1949, pp. 6-7.
B350 "The Senators Hate a Divorce: Quebec and Newfoundland Say It's Ottawa's Headache but the Overburdened Senators Would Cheer if They'd Handle Their Own Cases." The Standard Magazine [The Standard] [Montreal], 14 Jan. 1950, pp. 5, 32.
B351 "Canary Contest: Rollers Compete for Prizes at Annual Montreal Event." The Standard [Montreal], 18 Feb. 1950, Sec. Photonews, p. 8 [and pictures pp. 9, II].
B352 "Is Mercy Killing Murder? Doctors Take an Oath to Save Life; When That's Impossible, Should They Make Death Easier?". The Standard Magazine [The Standard] [Montreal], 18 Feb. 1950, pp. 10, 16, 17.
B353 "Toy Theatre: Anyone with Patience Can Make One." The Standard [Montreal], 4 March 1950, Sec. Photonews, p. 10 [and pictures p. II].
B354 "'I Don't Cry Any More': Mary Golubeva Is One DP Who Is Adjusted to Her New Life. But among Her 40,000 Fellow Immigrants Are Many Who Are Confused, Maladjusted and Unhappy." The Standard Magazine [The Standard] [Montreal], 22 April 1950, pp. 5, 14, 28.
B355 "Success Story of a Canadian Artist: Years of Dedication to a Dawn-to-Dark Schedule of Work Have Raised the Fortunes of Goodridge Roberts from $1.50 a Week to $4,000 a Year." The Standard Magazine [The Standard] [Montreal], 29 April 1950, pp. 18-19.
B356 "Report on a Repat: Part II: The Standard Pays Another Visit to an Ex-Soldier We Met in 1945." The Standard [Montreal], 29 July 1950, Sec. Photonews, p. 16 [and pictures p. 17].
B357 "Land Auction: An Empty Townsite Is Sold as a New District Is Born." The Standard [Montreal], 12 Aug. 1950, Sec. Photonews, p. 8 [and pictures pp. 9-II].
B358 "The Making of a Hoodlum: The Story of Johnny Young. Montreal's East-End Tough Guy and How He Got That Way." The Standard Magazine [The Standard] [Montreal], 7 Oct. 1950, pp. 5-6, 33.
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Source: Grant, Judith Skelton (compiler); . Part 1: Works By Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 180-203 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP1.
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Record: 158- Title:
- Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous; Essays
- Other Title:
- Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous
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- Genre(s):
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- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 1: Works By Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 180-203)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 1: Works By Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 180-203
Part 1 Works by Mavis Gallant; Contributions to periodicals and books (short stories and miscellaneous short fiction, reprinted anthology contributions: A selection, articles, essays, and reviews), audio-visual material, and miscellaneous; Essays
Grant, Judith Skelton (compiler)
B359 "Reflections: The Events in May: A Paris Notebook -- I." The New Yorker, 14 Sept. 1968, pp. 58-62, 64, 67-68, 70, 73-74, 76, 81-82, 84, 86-88, 91-92, 94, 97-98, 200, 105-08, 111-14, 117-20, 122-24.
B360 "Reflections: The Events in May: A Paris Notebook -- II." The New Yorker, 21 Sept. 1968, pp. 54-58, 60, 63, 66, 68, 70, 75-77, 80, 82, 87-88, 90-91, 94, 96, 98, 103-04, 106, 108, 110, 115-16, 118, 120, 124-26, 128, 130-34.
B361 "Annals of Justice." The New Yorker, 26 June 1971, pp. 47-52, 54, 56, 58-70, 73-75. Rpt. ("Things Overlooked Before") in The Affair of Gabrielle Russier. By Gabrielle Russier. Trans. Ghislaine Boulanger. Preface Raymond Jean. New York: Knopf, 1971, pp. 1-72. Rpt. Toronto: Popular Library, 1971, pp. 9-85. Rpt. ("Stress 3: Why This Woman Died") in The Sunday Times Magazine [The Sunday Times] [London, Eng.], 26 Nov. 1972, pp. 76-77, 79-80, 82-83, 85, 87, 89. Rpt. ("Things Overlooked Before") in The Affair of Gabrielle Russier. By Gabrielle Russier. Trans. Ghislaine Boulanger. Preface Raymond Jean. London: Gollancz, 1973, pp. 1-72.
B362 "Paris Letter: The Unsuccessful Surrealist." The New York Times Book Review, 28 May 1972, pp. 4, 22-23.
B363 "Why Jacques Can't Write." The New York Times Book Review, 17 Sept. 1972, pp. 7, 24, 26.
B364 "Reporting from Paris." The New York Times Book Review, 24 Dec. 1972, pp. 2, 16.
B365 "Paul Leataud, 1871-1956." The New York Times Book Review, 9 Sept. 1973, pp. 6, 10, 12, 14, 16.
B366 "A Prix-View." The New York Times Book Review, 20 Oct. 1974, p. 47.
B367 Introduction. The War Brides. Ed. Joyce Hibbert. Toronto: PMA, 1978, pp. xi-xix. Rpt. Scarborough, Ont.: Signet, 1980, pp. xi-xix.
B368 "Paris: The Taste of a New Age." The Atlantic, April 1981, pp. 9, 12-19.
B369 "What Is Style?". The Canadian Forum, Sept. 1982, pp. 6, 37.
B370 "The Book That I'm Writing." The New York Times Book Review, 12 June 1983, pp. 12-13.
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Source: Grant, Judith Skelton (compiler); . Part 1: Works By Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 180-203 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP1.
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B371 "Reviewing the Movies." The Standard [Montreal], 4 June 1949, p. 17.
B372 "Reviewing the Movies." The Standard [Montreal], II June 1949, p. 16.
B373 "'Reviewing the Movies." The Standard [Montreal], 18 June 1949, p. 19.
B374 "Reviewing the Movies." The Standard [Montreal], 9 July 1949, p. 14.
B375 "Reviewing the Movies." The Standard [Montreal], 16 July, 1949, p. 9.
B376 "Reviewing the Movies." The Standard [Montreal], 23 July 1949, p. 13.
B377 "Reviewing the Movies." The Standard [Montreal], 30 July 1949, p. 13.
B378 "Reviewing the Movies." The Standard [Montreal], 6 Aug. 1949, p. 13.
B379 "Reviewing the Movies." The Standard [Montreal], 31 Dec. 1949, p. 9.
B380 "Reviewing the Movies." The Standard [Montreal], 5 Aug. 1950, p. 13.
B381 "Reviewing the Movies." The Standard [Montreal], 12 Aug. 1950, p. 13.
B382 "Reviewing the Movies." The Standard [Montreal], 19 Aug. 1950, p. 13.
B383 Rev. of Jean Giraudoux, by Georges Lemaitre; and Lying Woman, by Jean Giraudoux. The New York Times Book Review, 30 Jan. 1972, pp. 7, 28.
B384 Rev. of Transparent Things, by Vladimir Nabokov. The New York Times Book Review, 19 Nov. 1972, pp. 1, 12. Rpt. (excerpt -- "Nabokov, Vladimir. 1899- ") in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creatwe Writers. Ed. Carolyn Riley and Barbara Harte. Vol. VII. Detroit: Gale, 1974, 303-04.
B385 Rev. of From the Diary of a Snail, by Gunter Grass. The New York Times Book Review, 30 Sept. 1973, pp. 4-5. Rpt. (excerpt--"Grass, Gunter. 1927- ") in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley. Vol. Iv. Detroit: Gale, 1975, 205-06.
B386 Rev. of Colette: The Difficulty of Loving, by Margaret Crosland. The New York Times Book Review, 9 Dec. 1973, pp. 3, 26-27.
B387 Rev. of All Said and Done, by Simone de Beauvoir. The New York Times Book Review, 21 July 1974, p. 4. Rpt. (excerpt- "Beauvoir, Simone de. 19o8- ") in Contemporary Literary Criticism: Excerpts from Criticism of Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley. Vol. IV. Detroit: Gale, 1975, 48.
B388 Rev. of Daughter of a Revolutionary, by Natalie Herzen and the Bakunin-Nechayev Circle. Ed. Michael Confino. The New York Times Book Review, 6 Oct. 1974, pp. 27-29.
B389 Rev. of Andre Malraux, by Jean Lacouture. The New York Times Book Rewew, II Jan. 1976, pp. 1-2.
B390 Rev. of Celine, by Patrick McCarthy. The New York Times Book Review, 18 July 1976, pp. 1-2.
B391 "S. de B. Loves J.-P. S." Rev. of Hearts and Minds: The Common Journey of Simone de Beauvoir and Jean-Paul Sartre, by Axel Madsen. The New York Times Book Review, 18 Sept. 1977, pp. 12, 44.
B392 "Anglo-Irish Vision." Rev. of Elizabeth Bowen, by Victoria Glendinning. The New York Times Book Review, 15 Jan. 1978, pp. I, 26.
B393 "The Diplomat vs. the Poet." Rev. of St.-John Perse: Letters, ed. and trans. Arthur J. Knodel. The New York Times Book Review, 27 May 1979, pp. 4, 29.
B394 "Why Are the French What Way?". Rev. of The French, by Theodore Zeldin. The New York Tmes Book Rewew, 2o March i983, pp. 3, 32-33.
B395 Rev. of The Europeans, by Luigi Barzini. The New York Times Book Review, 15 May 1983, pp. I, 28. Rpt. (excerpt) in The Magazine [Vancouver Province], 4 June 1983, p. 6.
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Grant, Judith Skelton (compiler)
B396 "My Heart Is Broken." Narr. Frances Hyland. Anthology. CBC Radio, 24 May 1969. (18 min.)
B397 "The Accident." Narr. Nonnie Griffith. Anthology. CBC Radio, 7 Sept. 1974. (30 min.)
B398 "Perceptions of France: Mavis Gallant." People of Our Time. CBC TV, 22 Sept. 1975. (30 min.) Rebroadcast 16 Jan. 1977. (30 min.)
B399 "The Doctor." Narr. Mavis Gallant. Literary Imagination Series. C8C Radio, 26 Oct. 1981.
B400 Home Truths [excerpts]. Narr. Mavis Gallant. Morningside. CBC Radio, 16-20 Nov. 1981. (5 segments; 5 min. each.)
B401 "Jorinda and Jorindel." Narr. Susan Chapel. Anthology. CBC Radio, 16 Jan. 1982. (30 min.)
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Source: Grant, Judith Skelton (compiler); . Part 1: Works By Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 180-203 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP1.
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B402 "English and French Canadian." The Times Literary Supplement, II June 1976, p. 706.
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Part 2 Works on Mavis Gallant; Books, articles and sections of books, theses, interviews, audio-visual material, and awards and honours; Articles and sections of books
Grant, Judith Skelton (compiler)
C3 Wilson, Edmund. O Canada: An American's Notes on Canadian Culture. New York: Farrar, Straus and Giroux, 1965, pp. 5-6. Wilson praises Gallant's work on the whole, although her short stories are too fragmented and appear to be "not so much real short stories as episodes from some longer fiction." Nevertheless, Wilson cites Gallant as "a brilliant example of the Canadian cosmopolitan" and finds that expatriate status affords her a "certain artistic freedom."
C4 Story, Norah. "Fiction in English: Short Stories." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, pp. 268, 306. Provides brief biographical and bibliographical data.
C5 Richler, Mordecai. "The Expatriate Who Has Never Left Home." Time, 31 May 1971, p. 5. Richler briefly mentions Gallant in an article about his own experiences.
C6 Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, pp. 132-33, 224. Atwood mentions only two of Gallant's short stories, "The Legacy" and "Bernadette." "The Legacy" is "a good summation of the route taken by Canadian fictional characters in their unsuccessful efforts to escape from their families."
C7 Borklund, Elmer. "Gallant, Mavis." In Contemporary Novelists. Ed. James Vinson. New York: St. Martin's, 1972, pp. 446-49. Rpt.(revised) in Contemporary Novelists. 2nd ed. Ed. James Vinson. New York: St. Martin's, 1976, pp. 484-87. Bio- and bibliographical material. Borklund notes that Gallant is usually concerned with "unwilling exiles," and her work provides "antiromantic glimpses of dislocation and despair." Gallant describes the rootlessness of her early life and notes that she dislikes talking about the aims and theories of her fiction since they "should be evident in the work."
C8 Reference Division, McPherson Library, University of Victoria, B.C., comp. "Gallant, Mavis de Trafford 1922.- ." In Creative Canada: A Biographical Dictionary of Twentieth-Century Creative and Performing Artists. Vol. II. Toronto: Univ. of Toronto Press, 1972, 96. Brief bio-bibliographical details.
C9 Richler, Mordecai. Shovelling Trouble. Toronto: McClelland and Stewart, 1972, p. 147. Richler characterizes Mavis Gallant as "our most compelling short story writer since Callaghan."
C10 Gnarowski, Michael. "Gallant, Mavis, 1922- " In his A Concise Bibliography of English-Canadian Literature. Toronto: McClelland and Stewart, 1973, p. 38. Rev. ed., 1978, p. 43. Bibliographic data.
C11 S[tory]., N[orah]. "Gallant, Mavis." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 108-09. In several of her short stories Gallant presents in a comic manner characters who are faced with financial dffficulty. She is "more caustic in her novels in which her characters cannot free themselves from their stifling middle-class background or from limpet mothers and sibling jealousy."
C12 Weaver, Robert, and William Toye. "Mavis Gallant." In The Oxford Anthology of Canadian Literature. Ed. Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, p. 137. The editors note that Gallant is an expatriate writer, but she is Canadian born and uses her Canadian background in her stories. After briefly tracing her writing career, they observe that in A Fairly Good Time Gallant describes individuals "probingly, uncovering people's vagaries and eccentricities with cool wit."
C13 Stevens, Peter. "Perils of Compassion [sic; Comprehension]." Canadian Literature, No. 56 (Spring 1973), pp. 61-70. Rpt. in The Canadian Novel in the Twentieth Century: Essays from Canadian Literature. Ed. and introd. George Woodcock. New Canadian Library, No. 115. Toronto: McClelland and Stewart, 1975, pp. 202-11. This article discusses Green Water, Green Sky, "Its Image on the Mirror" (from My Heart Is Broken), and A Fairly Good Time. Stevens suggests that the concern for familial relationships which is evident in Gallant's stories is found in her novels as a "double-edged theme of closeness and domination." This theme recurs in her works because Gallant feels that family members know each other too well. The analysis of each work focuses in considerable detail on this theme, although Stevens barely mentions the fourth and concluding section of Green Water, Green Sky. Technically, Gallant's sense of irony is always predominant. A Fairly Good Time is Gallant's "most ambitious" and "most complexly textured novel" in which Gallant also reveals a new and skilful handling of dialogue. Stevens describes it as "a very carefully wrought book, full of incisive characterizations and penetrating ironies." This last novel belies Gallant's image as a writer of "narrow range."
C14 Weaver, Robert. Introduction. In The End of the World and Other Stories. New Canadian Library, No. 9:. Toronto: McClelland and Stewart, 1974, pp. 7-13. Weaver provides a biographical sketch of Gallant as well as a commentary on her two novels and thirteen short stories that are included in The End of the World and Other Stories. He comments on Gallant's two major non-fiction works, "Things Overlooked Before" and "Reflections," and concludes with the observation that in the forefront of Gallant's work "are those human figures, fragmented by life, so often expatriated in one way or another, that she observes with amusement and affection, with pity and sadness, and frequently with a kind of bitchy impatience that seems to me to be peculiarly her trademark."
C15 New, William H. Among Worlds: An Introduction to Modern Commonwealth and South African Fiction. Erin, Ont.: Porcepic, 1975, pp. 123-24, 246. Gallant frequently observes the problem of displacement in her fiction, and New notes that "exile was a way of rejecting provincial Catholic roots." A brief bibliography of Gallant's fiction is also included.
C16 "Gallant, Mavis I9zz- ." In Canadian Fiction: An Annotated Bibliography. Ed. Margery Fee and Ruth Cawker. Toronto: Peter Martin, 1976, p. 47. Most of the stories in The Other Parts: Stories concern Americans living in Paris while the stories in My Heart is Broken focus on women "whose lives have essentially been failures." A Fairly Good Time presents "detailed and sensitive revelations" of the protagonist's thoughts, behaviour and surroundings. In The Pegnitz Junction: A Novella and Five Short Stories, Gallant observes German characters and describes the present and past tensions in their society. Foreigners are the focus of The End of the World and Other Stories, a book in which Gallant's economical style achieves clarity and simplicity.
C17 New, William H. "Fiction." In Literary History of Canada: Canadian Ltterature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed., 1976. Vol. III, 252-54. New compares Gallant with Norman Levine as "stylists of the ordinary" and notes her increasing skill in handling dialogue and creating credible characters. He mentions all her longer works and adds that she is wholly contemporary and not to be contained by a national label.
C18 Malcolm, Douglas. "An Annotated Bibliography of Works by and about Mavis Gallant." Essays on Canadian Writing, No. 6 (Spring 1977), pp. 32-52. (See CI) Primary and secondary source material to the end of 196. Malcolm provides annotations for all secondary sources.
C19 Hancock, Geoff. "Mavis Tries Harder." Books in Canada, June-July, I978, pp. 4-8. This article is based on the extensive interview that Hancock did with Gallant for Canadian Fiction Magazine. It offers a fairly extensive biography as well as Gallant's views on contemporary subjects and her work habits. Hancock explores the reasons why she has not been accepted in Canada.
C20 "Gallant, Mavis 1922- ." In Contemporary Authors: A Bio-Bibliographic Guide to Current Writers in Fiction, General Nonfiction, Poetry, Journalism, Drama, Motion Pictures, Television, and Other Fields. Rev. ed. Ed. Jane A. Bowden. Vols. LXIX-LXXII. Detroit: Gale, 1978, 534-35. Bio-bibliographic information.
C21 Hatch, Ronald. "Mavis Gallant: Returning Home." Atlantis [Acadia Univ.], 4 (Autumn 1978), 95-102. Gallant is exploring new ground in her most recent fiction (as of 1978). In the older stories, such as "The Other Paris" and "The Pegnitz Junction," the characters are observed by a detached narrator, who portrays them as cut off from authentic social action. In the Linnet Muir stories, however, while the central character is still conscious of her exile, there is a greater desire for social participation on her part.
C22 Hofsess, John. "Citations for Gallantry." Books in Canada, Nov. 1978, p. 21. This is actually a review of the Canadian Fiction Magazine special issue on Gallant. It does, however, give a brief overview of Gallant's work.
C23 Knelman, Martin. "The Article Mavis Gallant Didn't Want Written." Saturday Night, Nov. 1978, pp. 25, 27-31. An article based on an interview with Gallant. Aside from a biographical sketch, Knelman is most interested in the Linnet Muir stories and their possible autobiographical implications. He suggests that, like Gallant's other work, "They're full of brilliant little observations about what transpires in the fine print of human relationships. The prose is cool, elegant, precise, and totally stripped of sentimentality."
C24 Leith, Linda. "Mavis Gallant's Montreal." Montreal Review, Spring-Summer 1979, pp. 74-78. Leith discusses the Linnet Muir stories in the light of Geoff Hancock's interview with Gallant(CI) The stories are not just about a character maturing, but "about the process of developing from an artist detached from life into one, finally, for whom art and life are indissolubly linked."
C25 McDonald, Marci. "Exile in Her Own Write." Maclean's, 19 Nov. 1979, pp. 6, 9-10, 12. An article based upon an interview with Gallant which provides a brief biographical sketch.
C26 French, William. "Canadian Short Stories Not Bad, But Not Great." Rev. of 79: Best Canadian Stories, ed. Clark Blaise and John Metcalf. The Globe and Mail, 10 Jan. 1980, p. 25. Gallant's "With a Capital T" shows her to be one of many Canadian writers "shrouded in Arctic light, trapped in their Canadian loneliness" who offer us well-crafted, autobiographical fragments.
C27 Govier, Katherine. "A Canadian in Paris." Harper's & Queen, March 1980, pp. 66, 68. An article based on an interview with Gallant. Govier focuses on Gallant's life, "The Old Friends" from The Pegnitz Junction, her research on the Alfred Dreyfus affair, and the Linnet Muir stories.
C28 Hatch, Ronald. "Mavis Gallant and the Expatriate Character." German Association for Canadian Studies, Univ. Justus-Liebig, Gissen, Ger. 1981. Printed in Zeitschrtft der Geselleschaft fur Kanada-Studien, I (Jan. 1981), 133-43. This article sets out to examine the various ways that Gallant, throughout her career, has used the condition of expatriation as a literary device. Although mention is made of a wide variety of Gallant's fiction, the examination focuses almost entirely on three short stories: "The Other Paris," "The Moabitess," and "An Autobiography." Hatch regards these three stories as emblematic of the increasingly complex fashion in which Gallant makes use of expatriation. In "The Other Paris," for example, he notes that the characters lack "the subtlety of perception to break through their safe habits of decency to the recognition that all truly individual experience involves an element of exile, involves their becoming an expatriate from normalcy." But Enka, the heroine of "An Autobiography" written some eleven years later, has gained by means of her solitary nature some insight into "... the ways in which the people around her are giving themselves over to an expatriation from the past which is more debilitating. . . than is Enka's own isolation from the present." In her most recent work, such as the Linnet Muir stories, Gallant is exploring new ways of utilizing expatrlatism as a literary tool.
C29 Moss, John. A Reader's Guide to the Canadian Novel. Toronto: McClelland and Stewart, 1981, pp. 83-87, 353, 354, 357, 360, 365, 368, 376, 377, 378. Although Gallant has attained international status as a writer, she is still unknown in her own country. In "Its Image in the Mirror," her use of the language "elevates ordinary consciousness to the highest art" and she experiments with different treatments of narrative time. The point of view is "completely impersonal" and the language is crisp and clear in Green Water, Green Sky. Gallant's prose style is less intense in A Fairly Good Time, but its "reticence and imprecision" help to characterize the protagonist's sense of reality. Moss also includes several of Gallant's books in various categories in the Appendix.
C30 Goddard, Peter. "Mavis Gallant: I've Never Lost This Sense of Country.'" Sunday Star [Toronto Star], 1 Nov. 1981, p. FII. An article based on an interview with Gallant in Paris just before her cross-Canada publicity tour. It contains several of Gallant's favourite biographical tales, observations about the Introduction to Home Truths: Selected Canadian Stories and about her work on the Alfred Dreyfus case.
C31 Corbeil, Carole. "Home Truths with a Touch of Gallant Wit." The Globe and Mail, 7 Nov. 1981, p. EI. An article on the occasion of Gallant's cross-country publicity tour. Corbell talks about Gallant's impeccable manners, her witty style, and her relationship with Canada and Canadians. Gallant tells several favourite biographical stories and explains why she chose not to marry a second time.
C32 Adams, James. "Mavis Gallant Comes Home." Entertainment Journal, 17 Nov. 1981, p. FI. Adams quotes earlier positive evaluations of Gallant's writing and protests that her personal reputation as "cold, arrogant, intimidating" is undeserved. Adams includes biographical information and comments on her work on the Alfred Dreyfus case.
C33 McGoogan, Kenneth. "Expatriate Mavis Gallant Looks Homeward in Art, Life." The Calgary Herald, 28 Nov. 1981, p. F12. McGoogan comments on the Canadian neglect of Gallant until the publication of From the Fifteenth District, her sharp portraits of Canadians in Home Truths: Selected Canadian Stories, and her work on the Alfred Dreyfus case.
C34 Ackerman, Marianne. "Author Projects Steel and Levity." Winnipeg Free Press, I Dec. 1981, p. 21. Ackerman includes information about Gallant's living abroad, the Home Truths: Selected Canadian Stories publicity tour, and her life.
C35 Metcalf, John. Kicking Against the Pricks. Downsview, Ont.: ECW, 1982, p. 162. Metcalf notes it "would be lovely if we had ten writers as good as Mavis Gallant each of whom published new work every year and each of whom agreed to its republication for the nominal sum that Oberon can afford to offer."
C36 Woodcock, George. Northern Spring: The Flowering of Canadian Literature in English [pamphlet]. Introd. Victor Howard. Images of/du Canada, No. I. Washington, D.C.: Canadian Embassy, 1982, pp. 6-7. Gallant is an example of a Canadian writer in self-imposed exile. "Many of her stories are about other expatriates .... More recently, she has reached the exile's logical goal by going back in memory to childhood and writing a superb series of stories on a past Montreal .... "
C37 Wachtel, Eleanor. "Prize and Prejudlce." Books in Canada, March 1982, p. 9. In an article about the odd selection of books that have received the Governor-General's Award, Wachtel lists Gallant among various deserving writers who have not received the award.
C38 Mallet, Gina. "Kareda Lands Gallant Play for Tarragon." Toronto Star, 29 April 1982, p. DI. Mallet explains how Urjo Kareda obtained Gallant's first play, "What Is to Be Done," for its premiere in the Tarragon Theatre's fall season.
C39 Adachi, Ken. "Mavis Gallant Garners Our Top Literary Award." Toronto Star, 18 May 1982, p. EI. A news report on the Governor-General's Awards. Aside from a brief review of her career, Adachi also phoned Gallant in Paris with the news of her victory. He reports that she was "staggered" by her win.
C40 French, William. "Gallant's Collection of Short Stories Takes Fiction Prize." The Globe and Mail, 18 May 1982, p. 15. French's news report of the winners of the Governor-General's Awards devotes approximately one quarter of its space to Gallant. French mentions that From the Fifteenth District was unjustly overlooked by the judges in 1980 and that her victory was achieved over formidable competition from such established writers as Margaret Atwood and Robertson Davies.
C41 Martin, Sandra. "In Gratefulness to Mavis Gallant: A Couple of Reissues to Capitalize on Her Fame." The Globe and Mail, 29 May 1982, p. EI5. Martin offers a brief biography of Gallant's career, including news of her Governor-General's Award and her upcoming play at the Tarragon Theatre. Martin also suggests that the reissues of The Pegnitz Junction: A Novella and Five Short Stories and My Heart Is Broken have been released, in part, in order to take advantage of her new-found fame.
C42 French, William. "Rewards at Home End the Era of the Literary Exile." The Globe and Mail, 1 June 1982, p. 13. French's article on expatriate Canadian writers, such as Elizabeth Smart and Mordecai Richler, uses Gallant's recently acquired Governor-General's Award as evidence that such individuals are now receiving their proper due in Canada.
C43 O'Rourke, David. "Exiles in Time: Gallant's 'My Heart Is Broken.'" Canadian Literature, No. 93 (Summer 1982), pp. 98-107. O'Rourke examines each of the stories and demonstrates how the characters are exiled in time more than in space. The Gallant "'exile'" is "a person who is locked into a present situation, condition, stage of personal history, from which escape is difficult, and someumes impossible." Each of the stories "achieve a tight unity through a repetition of theme and technique which approaches pattern. Throughout, Gallant is shown to be primarily interested in problems of the status quo. The sterility of an old order, frequently manifested by a pseudo-aristocratic gentility and symbolized by the season of winter, is contrasted with a vitality traditionally assigned to the working-classes and youth. Characters suffer 'revolutions' in which they come close to losing 'control,' or lead 'double lives' in order to conform to societal expectations and, at the same time, retain what is essentially human and true."
C44 Laurence, Margaret. "Catcher in the Corn." Letter. Books in Canada, Nov. 1982, pp. 32-33. In response to Douglas Glover's complaint that "the Iowa Writers' Workshop has become the thought control centre of CanLit" (Books in Canada, Aug.-Sept. 1982), Laurence rebuts that the eight male writers he refers to are not "in some dark conspiracy to take over Canadia fiction under the banner of the Iowa cornbelt," and that he does not acknowledge the influence of a number of women (including Gallant [see C46]) writing in Canada.
C45 Goddard, Peter. "'The easiest thing I ever wrote in my life': Mavis Gallant Shows Her First Play in Her New City." Toronto Star, 6 Nov. 1982, p. G3. Goddard announces that Gallant will be writer-in-residence at the University of Toronto for 1983-84. What Is to Be Done?, Gallant's first play, "is a comedy of manners and politics set in Montreal during World War II." The play is fictional; and Gallant cautions Canadians against the tendency "to want to see everything as documentary." Gallant was surprised that Paul Betus, the director, did not want her to make any changes in the script. The play encapsules a number of contradictions: it is realistic and imagistic; "There's its extreme tender-heartedness at one side and its burlesque on another. At one level, it's cabaret; at another, it's a three-dimensional inspection of conversations and relations between two girls and some surrounding figures." The charactertizations are "well-imagined." Bettis notes that the "deftness of shifting from mode to mode" is "very un-Canadian." The leftist politics of the period are included.
C46 Laurence, Margaret. Letter. Books in Canada. Jan. 1983, p. 33. Laurence notes the editor's omission of six women writers from her letter of November 1982--Margaret Atwood, Adele Wiseman, Marian Engel, Jane Rule, Audrey Thomas, and Mavis Gallant. (See C44.)
C47 Adilman, Sid. "Scriptwriter Loses Genie and Precious $5,000 Prize: Hit Play on TV." Toronto Star, 4 April 1983, p. DI. Adilman reports that Gallant's play, What Is to Be Done?, is to be filmed in May of 1983 and shown on the pay-TV channel First Choice. Gallant is to host the two-hour production which will feature the play's original cast. No date has yet been set for the telecast.
C48 Hill, Douglas. "Sprucing Up the Image of What's Good for You on the CanLit Racks." The Globe and Mall, 30 April 1983, Sec. Entertainment, p. 19. Hill notes that General's New Press Canadian Classics reprint of My Heart Is Broken has already sold out its 7,000 copies.
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C67 Person, Len, adapted. "Bernadette" and "The Ice Wagon Going Down the Street." Prod. and dir. Esse W. Ljungh. Music Morris Surdin. CBC Stage. CBC Radio, 31 Oct. 1965. (60 min.) Adapted from Gallant's short stories of the same titles (B22 and B49). The cast for "Bernadette" includes Chantal Beauregard, John Drainie, Alice Hill, Jean Cavall, and Sandra Scott. The cast for "The Ice Wagon Going Down the Street" includes Marigold Charlesworth, Tom Harvey, George Robertson, and John Scott.
C68 Grossman, Suzanne, and Gyorgy Kardos, adapted. "His Mother." Dir. Karoly Makk. Front Row Centre. CBMT, I Feb. 1978. (90 min.) Adapted from Gallant's short story of the same title (B77). The cast includes Gordon Pinssent and Klari Tolnay.
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C69 "The Other Paris" (B9) selected as the Best Short Story of 1953 by Harvard University.
C70 The Canadian Fiction Magazine's Annual Contributor's Prize for "With a Capital T" (B88) (1978).
C71 The National Magazine Award for Outstanding Achievement in the Category of Fiction, presented by the Columbia University Graduate School of Journalism (1978).
C72 Officer in the Order of Canada (1981).
C73 Governor-General's Award for Fiction for Home Truths: Selected Canadian Stories (A6) (1981).
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CI Hancock, Geoff, ed. A Special Issue on Mavis Gallant [Canadian Fiction Magazine, No. 28 (1978)]. 140 pp. Gallant's "With a Capital T" (B87) is listed separately in Section B. The critics include Robertson Davies, "The Novels of Mavis Gallant," pp. 68-73; Geoff Hancock, "An Interview with Mavis Gallant," pp. 18-67, "Mavis Gallant: Counterweight in Europe," pp. 5-7; Ronald Hatch, "The Three Stages of Mavis Gallant's Short Fiction," pp. 92-114; Douglas Malcolm, "An Annotated Bibliography of Works by and about Mavis Gallant," pp. 115-33; and George Woodcock, "Memory, Imagination, Artifice: The Late Short Fiction of Mavis Gallant," pp. 74-91 (rpt. in his The World of Canadian Writing: Critiques & Recollections. Vancouver: Douglas & Mclntyre, 1980, pp. 93-114). This special issue of Canadian Fiction Magazine contains a short story, an interview, a bibliography, and three critical essays. Davies' article deals only with Gallant's novels, although it does not touch upon "Its Image on the Mirror." He notes the thematic similarities between the works, and suggests that Gallant's approach is not dissimilar to that utilized by other Canadian writers. Gallant is likened to Jane Austen in the "spareness and austerity of her method"; her classical style does not diminish the intensity of her fiction. Hancock's interview is a three-hour conversation (recorded in two sessions, 23 and 25 Oct. 1977, in Paris) and ranges widely. Many topics come up several times--writers occur frequently as early influences, as friends, as expatriates in Paris, as Canadians. Gallant talks about her work habits, her needs as a writer, the way a story begins for her, and, when pressed, says a little about characteristics of her writing and about typical pre-occupations in her writing. She talks about her books and many individual short stories, particularly The Pegnitz Junction, A Fairly Good Time, the Linnet Muir stories, and her work on Alfred Dreyfus. She gives details concerning her early life, her decision to leave Canada for Europe, her decision to write in English (while living in French), the particular pleasures of Paris, and her sense of herself as Canadian. She also talks about several general topics: politics, films, religion and belief, and the role of critics. Spaced through the interview are reproductions of a holograph manuscript page, a worksheet, and a typed manuscript page based on the worksheet. In his introduction, "Mavis Gallant: Counterweight in Europe," Hancock suggests that Gallant is "the Canadian conscience'." He talks about her as a person, as the creator of fiction sprinkled with jokes and ironies, and as a Canadian in Paris. Hatch's article covers a wide range of Gallant's short stories from "The Other Paris" (1953) to the Linnet Muir stories of the 1970s. He observes that "her portrayal of man's entrapment in liberal, romantic ideas changes considerably, and may even hint at the escape route." Malcolm's "An Annotated Bibliography" reprints and updates CI8 to the end of 1977. Woodcock deals with three separate groups of Gallant's stories written during the 1960s and 70s: stories, such as "In the Tunnel," which concern foreigners trapped in "the meretricious vacation worlds of continental Europe"; the German stories, most of which are compiled in The Pegnitz Junction; and the Linnet Muir stories which explore the protagonist's past in wartime Montreal. Woodcock finds memory to be "important both as method and content," and he posits that it provides a significant link between these apparently divergent stories.
C2 Merler, Grazia. Mavis Gallant: Narrative Patterns and Devices. Ottawa: Tecumseh, 1978. 82 pp. This study is founded on the assumption that "... the refusal to guide the reader is perhaps the most arduous and the most unsettling premise that has to be accepted in order to approach her work." Merler thus employs structuralism as a tool to explicate Gallant's fiction. The book is a wide-ranging effort to organize all of Gallant's fiction, both short stories and novels. The book is diwded into three chapters entitled "Narrative Procedures," "Narrative Patterns," and "Narrative Techniques." Each chapter provides various charts in an attempt to schematize the relations between the characters, and there is a bibliography of Gallant's fiction and non-fiction at the end of the work. Merler reaches the conclusion that "the author creates a world in perpetual movement and change in a hazy zone between indifference and the desire to live. What is essential in the author's work is not the vision of the world it presents, but the incisive grasp of the human dance, of its choreography. It is the process of demystification that is at work."
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C52 Bieler, Zoe. "Visiting Writer Finds Montreal Changed in the Past Five Years." The Montreal Star, 30 Aug. 1955, p. 26. Bieler obtains considerable personal informa- tion from a writer who is often reserved about her personal affairs.
C53 Vineburg, Dusty. "Mavis Gallant's New Novel Has Quebec Setting." The Montreal Star, 9 Nov. 1963, p. 12. Like Zoe Bieler's piece (C52), this interview provides biographical information and some of Gallant's opinions on literature.
C54 Markle, Fletcher. "Interview with Mavis Gallant." Telescope. TV, CBC, 22 and 29 Jan. 1965. (60 min.) During the interview of 22 January, Gallant talks about visits to Canada since she left in 1950, her childhood, favourite places in Paris, her choice of painters as friends, selling her first story to The New Yorker, and her daily life. During the interview of 29 January, she talks about the particular district she chose to inhabit in Paris, her work habits, her relationships with children, favourite places outside of Paris, the attitude of men to women in France and in North America. At the end, Markle plays a game of association with her; he mentions a colour, an object, a person, and she says whatever occurs to her.
C55 Beattie, Earl. "Interview with Mavis Gallant." Anthology. CBC Radio, 24 May 1969. (60 min.) Gallant talks about the stages of writing a story, about her early years in Europe, about the meaning of living in Europe for her as a writer, and particularly about her stories. Beattle obtains a tremendous amount of detail from her about individual short stories and about her first novel.
C56 Campbell, Francean. "Meet Mavis Gallant, Maybe." The Montreal Star, 26 Sept. 1970, p. 17. The interviewer suggests that A Fairly Good Time is autobiographical. Gallant talks about her early writing, about living solely on the proceeds of her writing, about her annoyance with an obtuse Canadian review of A Fairly Good Time (see Don Coles, D93), about her work on Gabrielle Russier, about writers who influenced her in her formative years.
C57 Gibson, Graeme. "Interview with Mavis Gallant." Anthology. CBC Radio, 31 Aug. 1974. (42 min.) In this interview Gallant reveals that she likes the anonymity of living at a distance from her audience. She discusses the writing of her two novels, her use of humour, her reasons for leaving Canada, her use of the word "mystery," her depiction of love and sex and of free will and determination, the relation between her own experxence and her fiction, her work on the Paris riots of the late sixties, on Gabrielle Russier, and on Alfred Dreyfus.
C58 Lawrence, Karen. "From the Other Paris--Interview with Mavis Gallant." Branching Out, Feb.-March 1976, pp. 18-19. A short interview which reveals Gallant's opinions about her early career, women writers, feminism and men, marriage and social roles, and her critics.
C59 Interview with Mavis Gallant. Femme d'aujourd'hui. [French Radio], 25 Feb. 1976. (63 min.) The interview is a wide-ranging one, in which Gallant discusses, among other things, her Montreal background, the work that she does for The New Yorker, her ability to speak French. She mentions writers ranging from Alice Munro to Flaubert.
C60 Crook, Maxine. "Abortive Interview with Mavis Gallant." Morningside. CBC Radio, 22 Oct. 1976. (1-2 min.) The reception on this live telephone-interview was poor so the interview was quickly terminated. Gallant talks briefly about the oppressiveness of the Cathohc-Protestant issue in Montreal in the forties, an issue which resurfaces for her in her work on the Alfred Dreyfus case in Paris.
C61 Crook, Maxine. "Interview with Mavis Gallant." Morningside. CBC Radio, 8 Dec. 1976. (16 min.) In this interview (begun unsuccessfully on 22 October 1976), Gallant talks about autobiographical elements in the Linnet Muir stories. She also mentions her desire to recapture the Montreal of the forties, and discusses the replies she sends to crank letters, writers she likes, and writers she was influenced by when she began to write fiction.
C62 Grosskurth, Phyllis. "A Gallant Search for the Key to Alfred Dreyfus." The Globe and Mail, 28 Feb. 1981, Sec. Entertainment, p. 5. Gallant discusses why she agreed to write a chronicle of the Dreyfus case, her sense that such a case would cause little stir today, the character of the villain of the case (Esterhazy), her assessment of Dreyfus himself, Jews in the French army, contemporary newspaper reactions to the case, Dreyfus' army experience, the attitude of his family, a powerful cautionary dream she had as she began the work on the Dreyfus case, and Dreyfus' loss of faith in God.
C63 McLean, Stuart. "Interview with Mavis Gallant." Sunday Mormng. CBC Radio, 19 April 1981. Gallant talks about the art of writing, reads an excerpt from her story "With a Capital T," talks about Pari as her ideal city, about her annoyance with French media misrepresentation of Canada and her invention of an official persona in whose character she would call and set the record stratght, about her attitude towards Canada, about physical aspects of writing, about her objective in writing The Pegnitz Junction, and about her love of Proust's Remembrance of Things Past.
C64 Engel, Howard. "Interview with Mavis Gallant." Stereo Morning. CBC-FM Radio, 28-29 Oct. 1981. (23 min. each part.) Rebroadcast Anthology. CBC Radio, 9 Jan. 1982. (46 min.) This interview was taped in August 1981. Gallant talks about her early life in Montreal, Toronto, and New York, her second time in Montreal, and about her many moves in Europe before she settled in Paris. She also discusses being a staff writer for The Standard [Montreal], why she came to Europe, her first sale to The New Yorker, the epigraph from Pasternak in Home Truths, and, finally, her story "Willi."
C65 Ryval, Michael. "Home Truths from the Fifteenth District." Quill & Quire, Dec. 1981, p. 27. This interview provvies a background to Gallant's career that traces her work from the early 1950s to the present. The publishing histories of From the Fifteenth District: A Novella and Eight Short Stories and Home Truths: Selected Canadian Stories are discussed. Gallant also discusses her book on the Dreyfus case and the effect it has had upon her career. Gallant has "a hunger to be more in touch with contemporary Canadian life."
C66 Gzowski, Peter. "Interview Mavis Gallant and Urjo Kareda." Morningstde. CBC Radio, 11 Nov. 1982. (15 min.) This interview, which took place on Remembrance Day, focuses on Gallant's play, What Is to Be Done?, and its evocation of wartime Montreal. Kareda also talks about how he acquired rights for the play.
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C49 Malcolm, Douglas. "The Theme of Exile in Mavis Gallant's Fiction." M.A. Thesis Carleton 1975. Malcolm traces the theme of spiritual exile through Gallant's fiction up to The Pegnitz Junction. He suggests that her characters in the later fiction are more successful in dealing with their lot in life than those in the early stories.
C50 Shanefield, Irene Deborah. "Alienation: The Dilemma of the Individual in the Modern World as Portrayed in the Fiction of Mavis Gallant." M.A. Thesis McGill 1978. Shanefield sees the social dislocation that occurred as a consequence of World War II as the primary root of the personal alienation that is described in Gallant's fiction. "Guilt and alienation are now the inevitable legacy of individuals in the modern world."
C51 Stone, Donal B. "The Theme of Isolation in the Fiction of Mavis Gallant." M.A. Thesis Windsor 1978. Stone explores the theme of exile in Gallant's fiction in four separate areas: the family, friends, new environments, and interpersonal relations.
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Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; An Unmarried Man's Summer (London ed. Of My Heart Is Broken: Eight Short Stories and a Short Novel)
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D14 Corke, Hilary. Rev. of An Unmarried Man's Summer. The Listener, 19 Aug. 1965, p. 281. Corke praises the understanding and penetration of the stories and views Gallant as "probably the best of living Canadian writers."
D15 Taubmann, Robert. Rev. of An Unmarried Man's Summer. New Statesman, 3 Sept. 1965, p. 329. A review which concludes that Gallant is "a writer of an unsatisfactorily intellient kind." "Its Image on the Mirror" is the "most impressive" piece in the collection, but the rest of the stories bear the imprint of much fiction in The New Yorker. Taubmann compares her to Mary McCarthy.
D16 Haltrecht, Montague. "The Condition of Women." Rev. of An Unmarried Man's Summer, by Mavis Gallant; The Sinews of Love, by Alexander Cordell; and Young Visitors, by John Wain. The Scotsman Week-end Magazine [The Scotsman] [Edinburgh], 11 Sept. 1965, p 3. "From behind a cool eye she winkles out her perceptions with casual and entrancing cruelty."
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Grant, Judith Skelton (compiler)
D24 Charney, D. J. Rev. of From the Fifteenth District: A Novella and Eight Short Stories. Library Journal, Aug. 1979, p. 1587. Charney admires the skill with which Gallant evokes "a world where brittle, paper-thin attachments can be severed with finality, and with little or no sense of loss."
D25 Hulbert, Ann. Rev. of From the Fifteenth District: A Novella and Eight Short Stories. The New Republic, 25 Aug. 1979, p. 38. The stories interplay between personal past and public history. "Remission" is particularly illustrative of this concern. Hulbert praises her work for its manifold implications which transcend the accepted boundaries of short fiction.
D26 Walker, Frank B. "Her Humanity: A Review." The Montreal Star, 15 Sept. 1979, p. HI. The combination of a sharp eye and an acute ear lend "strength to her writing" which "turns the commonplace into the sparkling." Walker includes biographical data.
D27 Tyler, Anne. "European Plots and People." The New York Times Book Review, 16 Sept. 1979, p. 13. Gallant is able to present a seemingly broad and richly textured world within the confines of the short story form: "There is a sense of limltlessness: each story is like a peephole opening out into a very wide landscape. The characters will go on with their lives, you feel, even when their slim allotment of pages has been exhausted."
D28 Bernays, Anne. "Short Fiction That's Long on Truth." The Christian Science Monitor, 26 Sept. 1979, p. 17. Gallant's stories are mainly set in Europe and are about "family relationships in which ambivalent emotions are constantly being put to the test; about the stresses and unrealities of love; about war and dying."
D29 Madott, Darlene. Rev. of From the Fifteenth District: A Novella and Eight Short Stories. The Globe and Mail, 29 Sept. 1979, Sec. Entertainment, p. ix. Gallant writes with a backdrop of modern history, especially World War II, in mind. Her characters can be roughly separated into "two camps: those who remember and those who don't." Her vision is one of "Adult sadness." Madott compares her to Chekhov and Austen.
D30 Weaver, Robert. "Now Attention Can Be Really Paid." Toronto Star, 29 Sept. 1979, p. F7. Weaver reviews Gallant's minimal reputation in Canada and hopes that the present collection will alter that situation. The stories in this book "provide truly astonishing evidence of the breadth of Mavis Gallant's sympathy and insight."
D31 Dobbs, Kildare. "Time, Myth, and Mavis Gallant." Saturday Night, Oct. 1979, pp. 72-74. A fairly lengthy review which deals with most of the stories. Dobbs seems to be particularly impressed by Gallant's use of language: "... she is one of those masters who achieve their effects with such seeming simplicity that we cannot see how it is done even when we know how it is done."
D32 Owen, I. M. "Proof That Few Can Top Gallant." Books in Canada, Oct. 1979, pp. 13-14. Owen is critical of the title story, but he praises the rest. Although the stories appear to be disparate, they are related by a similar theme: "The central figures, and many of the others, are people who are displaced from their natural settings; it is the contrast between them and their surroundings that defines what they are."
D33 Broyard, Anatole. "Books of The Times." The New York Times, 2 Oct. 1979, p. C9. Gallant is typical of writers for The New Yorker in her refusal to "bring her stories to some pleasing form of resolution, or, before that, to allow us to identify or empathize with her characters." Her rejection of romance is "... why one sometimes wants to resist her."
D34 Heward, Burt. "Expatriate Sends Gems from Paris." The Citizen [Ottawa], 6 Oct. 1979, p. 39. The collection is "this season's Canadian literary highlight."
D35 Morgan, Ted. "Writers Who Happen to Be Women." Saturday Review, 13 Oct. 1979, pp. 76-78. Morgan approaches the collection from the point of view that a good writer transcends the limitations of his/her sex and demonstrates this point by choosing passages from Truman Capote's Other Voices, Other Rooms, and Gallant's From the Fifteenth District: A Novella and Eight Short Stories where the narrator is not the same sex as the writer, yet the narrative voice is convincing.
D36 Summers, Merna. "An Attempt to Find the Origin of the Worm." Edmonton Journal, 27 Oct. 1979, p. 14. Surprised at the recurrent clmm that Gallant's work is unknown in Canada, Summers declares that "... most serious readers do know Gallant's work. She is one of the best writers Canada has produced, and the questions her fiction explores are important ones."
D37 Leith, Linda. Rev. of From the Fifteenth District: A Novella and Eight Short Stories. Quill & Quire, Nov. 1979, p. 31. A brief review. "Mavis Gallant writes better than any other Canadian author."
D38 Lownsbrough, John. "Tricks of Memory and Light." Maclean's, 19 Nov. 1979, p. 57. While the characters in the stories are all foreigners in one way or another, they are also alike in their attitude towards the past: "... life has played them a cruel trick. It has shackled them with memory, memory that helps keep them from tottering into the abyss between reach and grasp and impels them just as surely toward it."
D39 Burningham, Bradd. "Stories to Introduce Canadian in Paris." The Windsor Star, 24 Nov. 1979, p. 27. "Mavis Gallant is yet another Canadian artist of international stature who is relatively unknown in her own country" because she has lived and published mainly outside of Canada. "These are rich, carefully written stones. The prose style is clean, clear; the details evocative, well-chosen, and economically used. The characters are both complex and believable, and the sheer variety of them is amazing .... One of the ideas which reveals itself throughout . . . is how little control we actually have over our own lives."
D40 Foote, Timothy. "Coin's Edge:' Time [Canada], 26 Nov. 1979, pp. 75-76. Gallant's work defies analysis: "... in the end the stories are simply there--haunting, enigmatic, printed with images as sharp and durable as the edge of a new coin, relentlessly specific." Foote likens her to Chekhov, and finds an "almost Conradian irony" in her work.
D41 Hatch, Ronald. Rev. of From the Fifteenth District: A Novella and Eight Short Stories. Canadian Fiction Magazine, Nos. 34-35 (1980), pp. 172-74. A review article which notes that Gallant's subject here is "ordinary people [caught] in the wake of [the] vast movements" of this century. But he sees change within the large pattern as Gallant moves from stories depicting powerless characters trapped in circumstances beyond their control to characters in "Irina," "The Moslem Wife," and "Potter," who are self-aware and thus free to some degree and capable of some significant choice and action.
D42 Dretzsky, George. Rev. of From the Fifteenth District: A Novella and Eight Short Stories. The Fiddlehead, No. 124 (Winter 1980), pp. 108-10. Dretzsky shows how a whole story may prepare for the revelations of a single sentence. He suspects that the stories are subtly political. Dretzsky admires the collection as stories about individuals, for its artistry, and for its capacity to clarify the complex.
D43 Pritchett, V. S. "Shredded Novels." The New York Review of Books, 24 Jan. 1980, pp. 31-32. "Miss Gallant's central interest as a circling storyteller is human self-deception and its pathos. . . . At the core of each story there is a clinching sense of the central moral dilemma in which the characters find themselves."
D44 Gilbert, Harriett. Rev. of From the Fifteenth District: A Novella and Eight Short Stories. Time Out, March 1980, p. 63. A brief review. The stones' prime concern "is with intimate, personal relations. Or, rather, with the dark spaces where people who are bound to each other either fail, or choose not to relate."
D45 Grosskurth, Phyllis. "Exiles and Emigres." The Times Literary Supplement, 14 March 1980, p. 289. Gallant's world is "the dim twilight world of the transient" who yearns for "an idyllic resting place." Gallant forces her readers "to recognize the limits of freedom, or to understand that tenderness and dependency can create illusions of love, or to accept the fragmentation of life."
D46 Elson, Brigid. Rev. of From the Fifteenth District: A Novella and Eight Short Stories. Queen's Quarterly, 87 (Spring 1980), 160-61. "Despite the deft, poised style, the at times masterly ironies and the acutely observed mores and manners, the incompassionate clarity of her vision is thoroughly chilling. And ultimately there is something not quite convincing about her view of a pitiless and stifling universe."
D47 Barley, Paul. "The Cosmopolitan Touch." The Observer [London, Eng.], 20 April 198O, p. 39. Gallant is a confident cosmopolitan who notices and records "with an unerring eye" the essential things, "the effects of climate and culture, the political distinctions."
D48 Merler, Grazia. Rev. of From the Fifteenth District: A Novella and Eight Short Stories. West Coast Review, 15, No. 1 (June 1980), 34-36. A review article which begins by pointing to the neglect of Gallant by Canada's scholars. Merler then goes on to argue that "an acute social and historical consciousness is perhaps the driving force of Mavis Gallant's literary inspiration." Where in earlier works "present and past are fused," in her later stories "... time reconstruction and fusion (even though still present), give way to the juxtaposition of levels of reality and consciousness." The major preoccupation of this collection is "the quirky behaviour of memory."
D49 Killam, G. D. "A Thinking Stone." The Canadian Forum, June-July 1980, pp. 30-31. A review focused largely by the issue of exile in Gallant's life and work. Killam finds "the range of her irony . . . awesome" and concludes that "... it is this which makes her, in Margaret Atwood's phrase, such a 'terrtfyingly good writer.'"
D50 Bilan, R. P. "Letters in Canada: 1979. Fiction." University of Toronto Quarterly, 49 (Summer 1980), 326-27. Though From the Fifteenth District: A Novella and Eight Short Stories has attracted much praise, this is not a judgement Bilan shares. "Her stories seem to me polished, accomplished, professional, but the world they depict is almost claustrophobically narrow." The stories lack depth; they represent "the fag-end of modernism."
D51 New, W. H. "The Art of Haunting Ghosts." Canadian Literature, No. 85 (Summer 1980), pp. 153-55. New argues that where in Margaret Atwood's Life Before Man what matters is not the characters, but only "the texture of the language itself," in Gallant's world "characters do matter," because in each of their lives "... something of consequence happens. The textures of Gallant's stories . . . work to expose the fabric of consequence rather than the tissue of appearance."
D52 Fagan, Cary. "You'll Never Be as Happy Again." Brick, No. 13 (Fall 1981), pp. 54-57. Gallant captures "the emigre consciousness," including "the sense of aimlessness and detachment of exile, of isolation that leads to self-absorption and misunderstanding .... We are reading a very distinctive version of these people's lives, yet because of Gallant's hard and accurate judgements, it is one that seems more true than straight objectivity .... Occasionally this stance becomes too distant and sophisticated, separating us from the characters and their concerns. Gallant also has a tendency to summarize and interpret too much, to tell rather than show. Usually, she is able to balance the narrative well."
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Source: Grant, Judith Skelton (compiler); . Part 2: Works On Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 203-228 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP2.
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Record: 170- Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; My Heart Is Broken: Eight Stories and a Short Novel
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- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews
- Record Type:
- Reference Series
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
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- Bibliography
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- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Criticism & interpretation -- Bibliography
Titles critiqued: MY heart is broken: Eight stories and a short novel (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 2: Works On Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 203-228)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP2
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Source: Part 2: Works On Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 203-228
Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; My Heart Is Broken: Eight Stories and a Short Novel
Grant, Judith Skelton (compiler)
D7 Poore, Charles. "Books of The Times: Mavis Gallant's Stories of Exiles and Their Hearths." The New York Times, 16 April 1964, p. 35. A favourable review which centres on the expatriate theme of Gallant's work. The "farther away from her native Canada she takes her people, the more indelibly Canadian they become in their streets and straits of exile."
D8 Janeway, Elizabeth. "We Exit Wondering." Saturday Review, 18 April 1964, pp. 45-46. Gallant likes to explore the relationships between members of the same family, such as the one between the two sisters in "Its Image on the Mirror." Janeway mentions the stress which Gallant's work places upon the reader: "Miss Gallant marshalls the events, but she will not answer the question. Let the reader decide."
D9 Boroff, David. "All Around Is a Kind of Ineffectual Good Will." The New York Times Book Review, 3 May 1964, p. 4. Like other writers for The New Yorker, Gallant is meticulous with her craft and reveals an unimpassioned intelligence in her writing. Spiri- tual exile is the author's major preoccupation. Boroff singles "Bernadette" out for special praise, calling it a nearly perfect short story and certainly one of the best of the last decade. Gallant is an "uneven but substantial" talent.
D10 Boegel, Joan P. Rev. of My Heart Is Broken: Eight Stories and a Short Novel. Library Journal, 2 June 1964, pp. 2364-65. Boegel commends Gallant's abiity to create credible characters and situations and comments upon the difficulty her characters have in communicating with one another.
D11 Auchincloss, Eve. Rev. of My Heart Is Broken: Eight Stories and a Short Novel. The New York Review of Books, 25 June 1964, pp. 17-18. Gallant's thematic concern is with expatriatism and her evocation of its psychology is well done. Auchincloss finds her detachment too complete and accuses her of "an ostentatious withholding of judgment that begs the question: why then write the story?"
D12 Fulford, Robert. "On Mavis Gallant's Best Fiction Yet: the Memoirs of a WASP in Wartime Montreal." Maclean's, 5 Sept. 1964, p. 45. "Its Image on the Mirror" in particular is praised for its evocation of the lot of Quebec Anglo-Saxons. Fulford also suggests that Green Water, Green Sky is inferior to the present collection, because it is too introspective and this characteristic amounts to a rejection of the best qualities of her work.
D13 Amiel, Barbara. "Author Moves Beyond Labels." Toronto Star, 14 Sept. 1974, p. H7. A review written on the occasion of the PaperJacks re-issue of the collection. Amiel admires Gallant's style, and her capacity to look past surface detail into the human heart and mind in order to "remind us of some truths about the human condition."
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Source: Grant, Judith Skelton (compiler); . Part 2: Works On Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 203-228 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP2.
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Record: 171- Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; The Other Paris: Stories
- Other Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Criticism & interpretation -- Bibliography
Titles critiqued: OTHER Paris: Stories (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 2: Works On Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 203-228)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP2
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Source: Part 2: Works On Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 203-228
Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; The Other Paris: Stories
Grant, Judith Skelton (compiler)
D1 Rev. of The Other Paris: Stories. Kirkus Reviews, 1 Jan. 1956, p. 15. "A collection of short stories introduces a new writer with a talent which is perhaps difficult to assess; certainly it is more suggestive than decisive, but humor, sensibility, awareness are all a part of it."
D2 Feld, Rose. "Brief Frustration." Saturday Review, 25 Feb. 1956, pp. 17-18. A favourable review which observes that Gallant is "concerned with the exploration of the states of mind and emotion of unheroic human beings caught in a web of bewilderment, ineffectuality, and compromise." Feld compares her to Eudora Welty, Jean Stafford, Hortense Kalisher, and Katherine Mansfield.
D3 Peden, William. "The Gulf between Reality and Dreams." The New York Times Book Review, 26 Feb. 1956, p. 28. Gallant's work exploits a theme of illusion and reality. Peden compares her stories to those of Henry James and notes that "the best of her stories delineate the contrast between American and European values, mores and states of mind."
D4 Stallings, Sylvia. Rev. of The Other Paris: Stories. New York Herald Tribune Book Review, 4 March 1956, p. 3. "This fine collection of stories may some day prove a godsend to the social or literary historian inquiring, what were Americans doing after the second world war? . . . Miss Gallant's ironies, as well as her loyalties, are divided, but this double vision makes her writing both witty and moving."
D5 Hogan, William. Rev. of The Other Paris: Stories. San Fransctsco Chronicle, 21 March 1956, p. 23. Gallant is "one of the best young women writers in the U.S." Hogan classifies her writing with that of Eudora Welty, Flannery O'Connor, Jean Stafford.
D6 Leet, Herbert L. Rev. of The Other Paris: Stories. Library Journal, 1 April 1956, pp. 832-33. Leer praises the wistful, humorous quality of the stories, but notes that "Enjoyment is limited to feminine special reader [sic]in larger public libraries."
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Source: Grant, Judith Skelton (compiler); . Part 2: Works On Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 203-228 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP2.
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Record: 172- Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; The Pegnitz Junction: A Novella and Five Short Stories
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- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Criticism & interpretation -- Bibliography
Titles critiqued: PEGNITZ Junction: A novella and five short stories (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 2: Works On Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 203-228)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP2
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Source: Part 2: Works On Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 203-228
Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; The Pegnitz Junction: A Novella and Five Short Stories
Grant, Judith Skelton (compiler)
D17 Dobbs, Kildare. "Train Trip Becomes a Journey of Life." Toronto Star, 2 June 1973, p. 73. Mavis Gallant "has always shown that minute observation of social nuance characteristic of the New Yorker." Dobbs praises her work for its beauty and integrity.
D18 Layton, Aviva. "Missed Connections." The Montreal Star, 9 June 1973, p. C3. Gallant's themes are not sufficiently integrated to make them significant, yet there is a certain "brittle cleverness" to the work.
D19 Pritchard, William H. Rev. of The Pegnitz Junction: A Novella and Five Short Stories. The New York Times Book Review, 24 June 1973, p. 4. Pritchard says that "by cultivating incongruities, juxtaposing voices and memories that fit together in only the craziest way the author might seem to evade responsibility for saying or caring very much about her characters and their situation." "The Pegnitz Junction," especially, is "too clever, too oblique, too arty, for its own moral and human good."
D20 Rapoport, Janis. "Look for Her between Lessing and McCarthy." The Globe and Mail, 7 July 1973, Sec. Entertainment/Travel, p. 31. Rapoport places the volume in the context of Gallant's earlier fiction. The "prose here is more abstract than before, and in some instances is representative of the societal fragmentation of recent years, just as the concreteness in the earlier collection, My Heart Is Broken, reflects the realism of the 50s."
D21 Ayre, John. "The Sophisticated World of Mavis Gallant." Saturday Night, Sept. 1973, pp. 33-36. The volume is a "stunning addition to Gallant's earlier work." Her fiction evokes "a stagnant woman-crowded world that is hinged on ritual, where the figures diplay a recurrent impotence in rebelling against a conservative code of feminine behaviour which is serving only to destroy them." Ayre concludes by calling Gallant a "major Canadian writer."
D22 Digby, Durrant. "Surviving." London Magazine, 14, No. 3 (Aug.-Sept. 1974), 144-47. It is Gallant's "special gift in this book to communicate so exactly the traveller's neurosis; always leaving some kind of past to look compulsively for some kind of future, for ever and ever."
D23 Gauer, Stephen. Rev. of The Pegnitz Junction: A Novella and Five Short Stories. Quill & Quire, June 1982, p. 32. With the publication of Home Truths: Selected Canadian Stories, Gallant's reputation in Canada "has finally caught up to her accomplishments." The re-issue of The Pegnitz Junction: A Novella and Five Short Stories is a timely reminder of her skills. Although the stories in it were written mainly in the 1960s, they anticipate the German angst of the 1970s. Gauer concludes that "... no one conveys the meanings and nuances of ordinary life with the sensitive intelligence that Gallant does."
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Source: Grant, Judith Skelton (compiler); . Part 2: Works On Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 203-228 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP2.
Item Number: ABCMA05MGP2000005002004004
Record: 173- Title:
- Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Dramatic adaptations and screenplays
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- Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Dramatic adaptations and screenplays
Kendle, Judith (compiler)
C580 Bryden, Ron, adapted. "The Varsity Story." Prod. and dir. Ross McLean. CBC Radio, II and 18 Nov. 1948. (30 min.) Two thirty-minute parts adapted from Callaghan's book of the same title (A21). Sound versions held by the CBC and by the Sound Division, Public Archives of Canada.
C581 Moore, James Mavor, adapted. "To Tell the Truth." Dir. Esse W. Ljungh. CBC Wednesday Night. CBC Radio, 25 May 1949. (90 min.) An adaptation from Callaghan's play To Tell the Truth (A23). Starring "most of the original cast" from the stage production: Don Harron as George, Dianne Foster as Dini, Lloyd Bochner as Taylor, et al. See A29 for the location of a production script of the radio adaptation.
C582 Moore, James Mavor, adapted. "To Tell the Truth." Dir. Silvio Marizzano. CBC Theatre. CBC TV, 23 Oct. 1952. An adaptation from Callaghan's play To Tell the Truth (A23). The cast includes Don Harron, Austin Willis, George Murray, Barbara Hamilton, and Kate Reid. See A38 for the location of scripts for the television adaptation.
C583 Klenman, Norman, adapted. Now That April's Here. Narr. and introd. Raymond Massey. Dir. William Davidson. Prod. William Davidson and Norman Klenman. A Klenman-Davidson Production, 1958. Released in Canada by International Film Distributors. (84 min.; black and white.) Printed ("A Liberty Adaptation from the Screenplay of Morley Callaghan's 'Now That April's Here': 'Silk Stockings,' " "A Liberty Adaptation from the Screenplay of Morley Callaghan's 'Now "That April's Here': 'Rocking Chair,' "A Liberty Adaptauon from the Screenplay of Morley Callaghan's 'Now That April's Here': 'The Rejected One,'" and "A Liberty Adaptation from the Screenplay of Morley Callaghan's 'Now That April's Here': 'A Sick Call'") in Liberty [Canada], July 1958, pp. 26, 66; Aug. 1958, pp. 37, 54; Sept. 1958, pp. 32, 34; Oct. 1958, pp. 36, 46-47. Four episodes based respectively on "Silk Stockings" (B24), "Rocking Chair" (B29), "A Sick Call" (B27), and "The Rejected One" (B39). See A32 for the location of a manuscript copy of the screenplay for the film, and D133-D136 for reviews. See also NTAH, MCS, CS, B443, and B458 for other versions of these stories.
C584 Cameron, Eric, adapted. "Luke Baldwin's Vow." Dir. Hector MacFayden. Cameos. CBC Radio, 2 Oct. 196I. (30 min.) Adapted from Callaghan's novel of the same title (A19). See also C594 for another dramatic adaptation and A29 for the location of the script.
C585 Israel, Charles E., adapted. "The Loved and the Lost." CBC Stage. CBC Radio, 25 Dec. 1963 and 3 Jan. 1964. The first two of three parts was broadcast on 25 December 1963. The third of three parts was broadcast on 3 January 1964. Adapted from Callaghan's novel of the same title (A8).
C586 Breen, Melwyn, adapted and prod. "More Joy in Heaven." The Serial. Exec. prod. Ronald Weyman. CBC TV, 30 April-4 June 1964. (180 min.) Serialization of Callaghan's novel of the same title (A7) in six half-hour installments. Starring John Vernon as Kip Caley, Chela Matthison as Juhe, Bud Knapp, Austin Willis, Larry Mann, Jack Creley, Tom Harvey, and Jack Barron. See A38 for the location of scripts of the above. See also C587, C592, and C593.
C587 Jack, Donald, adapted, "More Joy in Heaven." Prod. and dir. Robert Christie. Theatre 10:30. CBC Radio, 11-15 May 1970. (I50 min.) Rebroadcast 5-9 Oct. 1970. (150 min.) Adapted from Callaghan's novel of the same title (A7) in five thirty-minute segments. See also C586, C592, and C593.
C588 Lyndon, Glorya, adapted. "Very Special Shoes." Canadian Short Stories. Exec. prod. Ronald Weyman. Assoc. prod. David Peddle. CBC TV, 17 Sept. 1970. Adapted from Callaghan's story of the same title (B85). See A38 for the location of the above script. See also MCS and B457 for other versions of this title.
C589 Barney, Bryan, adapted. "Rigmarole." Canadian Short Stories. Exec. prod. Ronald Weyman. Assoc. prod. David Peddle. CBC TV, 15 Oct. 1970. Adapted from Callaghan's story of the same title (B55). See A38 for the location of the above script. See also NTAH, MCS, CS, and B439 for other versions of this title.
C590 Nichol, James W., adapted, "Father and Son." Canadian Short Stories. Exec. prod. Ronald Weyman. Assoc. prod. David Peddle. CBC TV, 22 Oct. 1970. Adapted from Callaghan's story of the same title (B45). See A38 for the location of the above script. See also NTAH, MCS, CS, and B446 for other versions of this title.
C591 O'Flanagan, Jerry, adapted. "The Magic Hat." Canadian Short Stortes. Exec. prod. Ronald Weyman. Assoc. prod. David Peddle. CBC TV, 3 Dec. 1970. Adapted from Callaghan's story of the same role (B100). See A38 for the location of the above script. See also MCS for another version of this title.
C592 Weyman, Ronald, adapted, prod., and dir. "More Joy in Heaven." CBC TV, 30 Sept. 1973. (60 min.) Part I of a dramatic adaptation from Callaghan's novel of the same title (A7). The film stars John Vernon, Lmda Goranson, and Budd Knapp. See also C586, C587, and C593.
C593 Weyman, Ronald, adapted, prod., and dir. "More Joy in Heaven." CBC TV, 7 Oct. 1973. (60 min.) Part II of a dramatic adaptation from Callaghan's novel of the same title (A7). The film stars John Vernon, Linda Goranson, and Budd Knapp. See also C586, C587, and C592.
C594 Lewis, W. W., adapted. Big Henry and the Polka Dot Kid. Dir. Richard Marquand. Prod. Linda Gottheb. Learning to Be Human. Learning Corporation of America, 1976. Released in Canada by Marlin Motion Pictures. (16 mm; colour; 33 min. ) Printed ("Big Henry and the Polka Dot Kid") in Scholastic Scope, 4 Nov. 1976, pp. 2-8, 23-25. Reproduced on Special Treat, NBC TV, 9 Nov. 1976. A film and teleplay based on Callaghan's novel Luke Baldwin's Vow (A18). The film stars Ned Beatty, Estelle Parsons, and Chris Barnes. The teacher's edition of Scholastic Scope includes a synopsis, suggestions for motivation, and discussion of the teleplay (C385).
C595 Ridout, Godfrey, adapted. "The Lost Child." Libretto John Reid. Cond. Victor Feldbrill. CBC TV, Dec. 1976. An opera based on Callaghan's short story, "A Very Merry Christmas." See MCS, ("A Very Merry Christmas"), B74, B422, B461, and B539.
C596 Bowie, Douglas, adapted. "That Summer in Paris." Dir. Henry Tarvainen. Festival Theatre. CBC-FM Radio, 25 Sept. 1978. (120 min.) Adapted from Callaghan's memoir of the same title (A20). Starring Duncan Regehr as Morley Callaghan, Brenda Donahue as his bride Loretto, Richard Monette as F. Scott Fitzgerald, and Neil Munro as Ernest Hemingway. See also A27 for another adaptation of tbe same title.
C597 Callaghan, Barry, adapted. "A Predicament." Exile, 7, Nos. 1-2 (1980), 5-20. A dramatic "adaptation... and expansion" of Morley Callaghan's short story by the same name (B9). See also NA, MCS, CS, B427, B434, and C495.
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
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Record: 174- Title:
- Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Audio-visual material
- Other Title:
- Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Audio-visual material
Kendle, Judith (compiler)
C598 Side, Ron, and Ralph Greenfield. Challenge: A Scholastic Canadian Novel Unit [for grades 4 to 8]. Ed. F.C.L. Muller and M. R. Buncombe. Richmond Hill, Ont.: Scholastic-TAB, 1978. Designed by Kathryn Cole and Lesley Dean. This box contains twelve copies each of three novels and three student logbooks, one teaching manual, and one poster. The novels included for study are the 1974 edition of Luke Baldwin's Vow by Morley Callaghan, Jean Little's From Anna (Don Mills, Ont.: Fitzhenry and Whiteside, 1977), and Farley Mowat's Two Against the North (New York and Toronto: Scholastic Book Services, 1977).
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Miscellaneous
Kendle, Judith (compiler)
C599 Tallman, Warren. "Wolf in the Snow: Part One: Four Windows on to Landscapes." Canadian Literature, No. 5 (Summer 1960), pp. 7-20. "Wolf in the Snow: Part Two: The House Repossessed." Canadian Literature, No. 7 (Autumn 1960), pp. 41-48. Rpt. in A Choice of Critics: Selections from Canadian Literature. Ed. and introd. George Woodcock. Toronto: Oxford Univ. Press, 1966, pp. 53-76. Rpt. in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Patterns of Literary Criticism, No. 9. Chicago: Univ. of Chicago Press, 1971, pp. 232-53. Rpt. Rev. ed. Toronto: Univ. of Toronto Press, 1977, pp. 232-53. Although the general title of the whole piece and the organizing principle of Part Two are both drawn from Callaghan's They Shall Inherit the Earth, the article contains no significant commentary on the author's work; the essay is relevant to the novels of Sinclair Ross, W. O. Mitchell, Hugh MacLennan, Ernest Buckler, and Mordecai Richler.
C600 Hood, Hugh. "Where the Myth Touches Us." Queen's Quarterly, 69 (Summer 1962), 211-36. Rpt. in Flying a Red Kite. By Hugh Hood. Toronto: Ryerson, 1962, pp. 189-217. A short story about the eventual disillusionment of an aspiring young writer, Joe Jacobson, by his mentor, David Wallace. The latter is supposedly a portrait of Callaghan.
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
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Record: 176- Title:
- Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Awards and honours
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- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Part 2 Works on Morley Callaghan; Books, articles and sections of books, theses and dissertations, interviews, dramatic adaptations and screenplays, audio-visual material, miscellaneous, and awards and honours; Awards and honours
Kendle, Judith (compiler)
C601 Inclusion for fourteen consecutive years in Edward J. O'Brien's annual compilation, The Best Short Stories . . . [1928-1941] and the Yearbook of the American Short Story. The stories so honoured, in chronological order of their inclusion, were "A Country Passion" (B7), "Soldier Harmon" (BII), "The Faithful Wife" (B17), "The Young Priest" (B111), "The Red Hat" (B22), "A Sick Call" (B27), "Mr. and Mrs. Fairbanks" (B34), "Father and Son" (B45), "The Blue Kimono" (B54), "The Voyage Out" (B60), "The Cheat's Remorse" (B71), "It Had to Be Done" (B78), "Getting On in the World" (B81), and "Big Jules" (B84).
C602 Governor-General's Award for Fiction for The Loved and the Lost (1951).
C603 Maclean's $5,000 novel award for "The Man with the Coat" (1955).
C604 Lorne Pierce Medal for Literature, Royal Society of Canada (1960).
C605 Named "Celebrity of the Day" by Celebrities Services International, New York, 24 Aug. 1960.
C606 Civic Award of Merit, City of Toronto, Ontario (1961).
C607 D.Litt., University of Western Ontario, London, Ontario (1965).
C608 Canada Council Medal (1966).
C609 LL.D., University of Toronto (1966).
C610 Medal of Service, Order of Canada, Dec. 1967; declined.
C611 Molson Prize (1969); awarded 18 March 1970.
C612 Royal Bank Award (1970); awarded 15 June 1970.
C613 D.Litt., University of Windsor, Windsor, Ontario (1973).
C614 Companion of the Order of Canada (1982).
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
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Record: 177- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; A Broken Journey
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: BROKEN journey (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; A Broken Journey
Kendle, Judith (compiler)
D20 Deacon, William Arthur. "Morley Callaghan of Toronto Hangs Out a Red Battle Flag." Mail and Empire, 10 Sept. 1932, p. 7. Deacon stresses "future rather than present achievement" in Callaghan's case, but hastens to make clear he is "watching a major novelist in the making." Although "the limitations of the short story still cling to him a bit," Callaghan has done "his finest work so far" in A Broken Journey. He is hailed as "the representative Canadian novelist of his generation" and "the first authentic voice of the proletariat," but warned that he will have to overcome deep-seated prejudices on the part of the Canadian public against his emphasis on the city, his sexual realism, and his idiomatic diction.
D21 Dawson, Margaret Cheney. "Prison of the Emotions." New York Herald Tribune Books, II Sept. 1932, p. 6. Mrs. Gibbons is "perhaps [the] most memorable character." Peter Gould is "less definitely drawn," but "the Canadian interlude" is "Mr. Callaghan at his best"; "... at the conclusion [we] are ready to acclaim both his skill and his sensitivity."
D22 Daniels, Jonathan. "The Night of the Soul." Saturday Review of Literature, 17 Sept. 1932, p. l04. Rpt. in Morley Callaghan. Ed. and Introd. Brandon Conron. Critical Views on Canadian Writing, No. l0. Toronto: McGraw-Hill Ryerson, 1975, pp. 40-41. A "mixed" review, mainly critical; Callaghan loses the concreteness of his story in "a mysticism strangely compounded of blood-ties, Roman Catholicism, and eroticism."
D23 "Mr. Callaghan's Robots." The New York Times Book Review, 18 Sept. 1932, pp. 14, 16. "Morley Callaghan has written a somewhat characterless novel about wholly characterless people." Although the method he uses "does very well in the very short story," it is "not one that operates well in extended flight."
D24 Hoy, Helen. "Fated or Fatalistic." The Canadian Forum, June-July 1976, pp. 51-52. In her review of the Laurentian Library reprint, Hoy suggests that Callaghan's early novels "have received excessively naive readings because of their deceptively simple surfaces. The painstaking presentation of behaviour without any authorial analysis or interpretation has led to a confusion of the point of view chosen for the novel (often that of a near-sighted or self-deluded protagomst) with the perspectwe of the narrator himself." In this novel, the author is at least parually responsible for the confusion; the work remains an "ambitious" book nevertheless.
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
Item Number: ABCMA05MCP2000005001004003
Record: 178- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; A Fine and Private Place
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: FINE and private place (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; A Fine and Private Place
Kendle, Judith (compiler)
D66 Conron, Brandon. "Callaghan, the Old Pro, Alive and Creative." The Globe and Mail, 22 June 1975, p. 35. Conron claims that the novel is "a fresh and absorbing story" for the casual reader, and "a delightful and often hilarious roman a clef for the Callaghan aficionado." Conron warns, however, that "Eugene Shore is not Morley Callaghan."
D67 James, Geoffrey. "Callaghan: Exile at Home." Time [Canada], 30 June 1975, p. 10. "Despite its attack on academe, A Fine and Private Place ends up by being a book of primarily academic interest."
D68 Engel, Howard. "Callaghan's World of Criminals and Saints." Saturday Night, July-Aug. 1975, pp. 63-64. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 102. Engel notes that the novel is a roman a clef and defends the genre, but finds none of the characters "compelling." The book is, however, "a welcome addition to the Callaghan canon."
D69 Bickerstaff, Isaac [Don Evans]. Rev. of A Fine and Private Place. Quill & Quire, Aug. i975, p. 27. "A Fine and Private Place is something of a literary curiosity, to be read as such, rather than as a major work of fiction for and of our times."
D70 Watt, E. W. "Morley Callaghan Sums It All Up." The Canadian Forum, Aug. 1975, pp. 35-36. "This book is unique: audacious, unpredictable, amusing, poignant, at times ridiculous, always fascinating, a completely original mixture of autobiography, literary critcism, and fiction."
D71 McPherson, Hugo. Rev. of A Fine and Private Place. Queen's Quarterly, 82 (Winter 1975), 642-44. The novel contains "a resonant reprise of Callaghan's major thematic and artistic concerns" and is "surely one of the finest in his long line of works."
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
Item Number: ABCMA05MCP2000005001004010
Record: 179- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; A Native Argosy
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: NATIVE argosy (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; A Native Argosy
Kendle, Judith (compiler)
D83 Chamberlain, John. "Morley Callaghan's Inarticulate People." The New York Times Book Review, 24 March 1929, p. 9. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 37-39. Callaghan belongs to the "athletic" versus the "dreamy" wing of the advance guard in American letters; both schools could learn much from those who steer a middle course. "The stories in the present collection are mostly devoted to the inhabitants of Moronia," although Callaghan's prose is admirably adapted for dealing with the inarticulate. The "worst" piece is "An Autumn Penitent." "In His Own Country" is "considerably better."
D84 Linscott, R. N. "Monotone." New York Herald Tribune Books, 7 April 1929, p. 7. Expressing a mixture of "respect" and "regret" for the author's "obstinate integrity," Linscott suggests that Callaghan's "dogmatic realism, [his] determination to deal only with the most unpromising material. . . is as unnecessary a handicap as it would be for a painter to use only gray." He "may write a great book" when he has the assurance to let himself go. The high point is "In His Own Country."
D85 Davenport, Basil. "Lives of the Lowly." Saturday Review of Literature, 20 April 1929, p. 909. "One is tempted to wonder if Mr. Callaghan is not exaggerating the helpless stupor in which he shows his characters, yet his manner in the end carries conviction with it. He writes with an externality like that of Maupassant; one may guess that he feels pity, but it is only a guess; one can be sure only that this is that life as he sees it."
D86 Sandwell, B[ernard]. K. "Notable Tales of York County." Saturday Night, 20 April 1929, p. 8. Sandwell apologizes for suggesting that Strange Fugitive "had little of a definitely Ontarian character about it." The "tales in [Callaghan's] new volume . . . are clearly the product of a careful study of a social milieu, mainly Irish in origin but both Protestant and Catholic in religion, which is to be found both in Toronto and in many smaller Ontario places, and which differs markedly from the Irish settlements in any part of the United States--or at any rate from any existing portrayal of these settlements in literature." Sandwell expresses "admiration" for the stories.
D87 Blackmur, R. P. Rev. of A Native Argosy. Hound & Horn, 2, No. 4 (July-Sept. 1929), 439-41. Rpt. ("Review of A Native Argosy") in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 34-36. Blackmur suggests that "Mr. Callaghan has that delicacy so much more important than verbal delicacy, the delicacy of accumulated perceptions, which brings the senses in the end to a gasp of recognition. The moral of his characters is made plain because their fate is understood. No judgement as imposed, no apology entered; catastrophe is seen as the particular harmony of circumstance--as this man or that woman follows to its conclusion some prejudice, some stupidity, some deformity of mind or spirit."
D88 Garvin, John W. Rev. of A Native Argosy. Canadian Bookman, Feb. 1930, p. 38. Garvin applauds Callaghan's style but complains: "No respectable parent would want his children to read Strange Fugitive and A Native Argosy, and that surely is regrettable. Mr. Callaghan must know that the heroic and noble in human conduct is not less common than the opposite. Then why keep on paddling in a pool of putridity?"
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
Item Number: ABCMA05MCP2000005001004013
Record: 180- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; A Passion in Rome
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: PASSION in Rome (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; A Passion in Rome
Kendle, Judith (compiler)
D59 Davis, Robert Gorham. "Carla, Sam and a Dying Pope." The New York Times Book Review, 15 Oct. 1961, pp. 4, 30. The book is judged to be "a bad 'major' [novel]." Although "some of the mass scenes are well done, and there are a few affecting passages between Carla and Sam," for the most part the characters are "totally inadequate to the demands made upon them." They are "insensitive, vulgar and above all, unconvincing."
D60 Emory, Tony. "A Great Passion for Dullness." Saturday Night, 9 Dec. 1961, pp. 43-45. Emory says he has always found Callaghan to be "an outstandingly dull writer" and here singles out for special opprobrium "his Grade B movie dialogue" and "his total lack of any sense of humor." He concludes: "A Passion in Rome must be the least memorable novel ever written about... 'The Eternal Caty.'"
D61 Wilson, Milton. "Callaghan's Caviare." The Tamarack Review, No. 22 (Winter 1962), pp. 88-92. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 79-83. While Wilson despairs of ever justifying his taste for Callaghan's fiction, he suggests it has something to do with "the thematic substance of the fable" and "the peculiar quality of [the author's] characterization." The critic "keep[s] rapping on the loose threads of the social sciences" in A Passion in Rome and finds Callaghan's "coarse-grained, serviceable, burlap style" wanting, but he is attracted to "a kind of artistic intimacy" in the novel. The work is "worth reading," although it is not on the same level of achievement as More Joy in Heaven and The Loved and the Lost.
D62 Dudek, Lores. Rev. of A Passion in Rome. The Canadian Forum, Feb. 1962, pp. 261-62. A positive assessment in response to Tony Emory's review of the same novel (D60). Dudek insists the book is "immensely readable." He points out the parallel to Albert Moravia's La Nora and "the tension between the two themes -- the two senses of passion." The novel is "a very fine book to show [the] struggle for coherence in a world of meaninglessness and disorder."
D63 Watt, Frank W. "Morley Callaghan's 'A Passion in Rome.'" Varsity Graduate, 9, No. 5 (March 1962), 6, 8, 10, 12. Rpt. an Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 84-87. Watt reviews Callaghan's controversial literary reputation and attempts to balance the negative reviews that A Passion in Rome has received elsewhere. "Callaghan is a traditional rather than an experimental writer because his concerns is with the moral and religious implications" of his subjects; his "main technique" is the use of the omniscient narrator; and he has "simply refused to acknowledge the myth or the fact of a fragmented modern world." A Passion in Rome "would have to be called the most extreme expression of [his 'monism'] to date": "... it's apparently topical realism has symbolic functions."
D64 Pacey, Desmond. "Canadian Writers." Queen's Quarterly, 69 (Summer 1962), 308-10. Pacey judges A Passion in Rome to be "an average and typical Callaghan novel" and includes an overview of the author's work. Acknowledging his indebtedness to his graduate student, John D. Ripley (see C509), Pacey suggests Callaghan "found his theme in the winter of 1935 [sic]" as the result of conversations with Jacques Maritain, and that Father Dowling is the only character who "could convincingly embody this altruism." Canada is "richer," however, for Callaghan's selfless devotion to his art.
D65 Ward, Anthony. "A Way of Feeling." Rev. of A Passion in Rome, by Morley Callaghan; and Nothing but the Best, by Clifford Hanley. The Spectator [London, Eng.], 27 March 1964, pp. 422-23. Rpt. (excerpt) in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 104-05. Ward praises Callaghan's tactful use of American vocabulary: It "becomes a cogent instrument for the analysis of feeling." Although the novel is "far too glamorous," it is "a distinguished book . . . [that] requires and merits very careful reading."
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Record: 181- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; An Autumn Penitent
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D98 Fulford, Robert. "Morley Callaghan's Back." Toronto Star, 13 Oct. 1973, p. F5. Fulford says that "... both of these short novels "An Autumn Penitent" and "In His Own Country" deal with aberrant behaviour in an enclosed social space" and notes their "remarkable sense of social structure." He also applauds "the steadiness" of Callaghan's vision over the years.
D99 W[oodcock]., G[eorge]. "Late Callaghan Reprinting." Canadian Literature, No. 59 (Winter 1974), pp. 127-28. Woodcock notes the belated reprinting of the two novellas, "An Autumn Penitent" and "In His Own Country," and "doubts if [they] will ever be regarded as vintage Callaghan. They belong to the same period as Strange Fugitive and share with it Callaghan's evident inability at this early stage to adapt his gifts as a short-story writer to the dimensions of a novel or even a novella."
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Record: 182- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Close to the Sun Again
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- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
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- Kendle, Judith (compiler)
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Titles critiqued: CLOSE to the sun again (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
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Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Close to the Sun Again
Kendle, Judith (compiler)
D72 Morley, Patricla. "Romantic Melodrama Leavened by Irony." Quill& Quire, 16 Sept. 1977, p. 6. "Close to the Sun Again is a good novel, not a great one, nor one of Callaghan's best. Its strengths are dramatic narrative, memorable characters, ironic humour and a dash of mysticism. It is weakened by stereotypes... and cliches.... Callaghan's view of women is romantic and dated ....But the old master still tells a great story."
D73 Woodcock, George. "This Fall in Toronto." Books in Canada, Oct. 1977, pp. 10-11. Rpt. ("This Fall in Toronto: A Late Callaghan Novel") in The World of Canadian Writing: Critiques & Recollections. By George Woodcock. Vancouver: Douglas & Mclntyre, 1980, pp. 189-93. In Woodcock's view, Close to the Sun Again is "the best book Morley Callaghan has written since That Summer in Paris 14 years ago, and the best novel since More Joy in Heaven 40 years ago." Includes a resume of the "repeated returns and renewals" of the author's career as Woodcock sees them.
D74 Engel, Howard. "The Callaghan Novel We've Been Waiting For." Saturday Night, Nov. 1977, pp. 55-57, 60. Disputing the suggestion that the novel is the work of "an old warhorse" or "a public monument," Engel declares that "Close to the Sun Again is a memorable and well-crafted book."
D75 Dooley, D. J. "Parable of Faithlessness." The Canadian Forum, Dec.-Jan. 1977-78, pp. 36-37. This novel "represents a return to the brief parable form in which Callaghan has had his greatest success" and "gives us a better insight into [his] peculiar religious vision than do most of his other novels. [Callaghan] has some affinities with Graham Greene, even though he has called the latter a Manichee."
D76 Mills, John. "'Recent Fiction: The Bloody Horse." Rev. of Close to the Sun Again, by Morley Callaghan; The Doctor's Wife, by Brian Moore; and A New Athens, by Hugh Hood. Queen's Quarterly, 85 (Spring 1978), pp. 59-61. Rpt. (revised) in Lizard in the Grass: Selected Prose. By John Mills. Downsview, Ont. : Ecw, 1980, pp. 132, 134-37, 142-43. Mills claims that if Callaghan's work were a first novel by a young writer he would condemn it: the style is "abominable." In the revised version, Mills includes a Preface and Afterword to the essay. The Afterword includes a letter to the editor criticizing Mills's review and Mills's rebuttal.
D77 Edel, Leon. "Callaghan Cinema." Canadian Literature, No. 77 (Summer 1978), pp. 100, 102-03. Edel suggests that "criticism has not sufficiently measured the extent to which [the] worlds of Hemingway, Callaghan, Farrell, and to some extent Dos Passos... are really the world of the media." Close to the Sun Again is "well told even when it's unbelievable." Although Callaghan's people are "often platitudes," he "possesses the concreteness of the modern-visual," and "[his] secret . . . is that he believes in the front-page platitudes." Unfortunately, melodrama too often obscures the "depths of humanity."
D78 Kendle, Judith. "Tragic or Romantic Vision." Journal of Canadian Fiction, No. 24 (1979), pp. 141-44. The novel is "an interesting combination of familiar themes and technical innovation" and "harks back in particular to an earlier theme, that of the redemptie power of insight and awareness." In doing so it raises an important question: "... is the author's vision genuinely a tragic one?" The reviewer thinks not and also speculates on the origins of the novel: "... it is possible that it owes something to [Callaghan's] personal experience" aboard a Royal Canadian Navy corvette during the summer of 1942.
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
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Record: 183- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; It's Never Over
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- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
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Titles critiqued: IT'S never over (Book)
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- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
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Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; It's Never Over
Kendle, Judith (compiler)
D12 Hobson, Thayer. "Murder and Its Consequences." New York Herald Tribune Books, 9 March 1930, p. 7. "If Mr. Callaghan develops as much before his third novel as he has done since the flashy 'Strange Fugitive,' he will be one of the most interesting novelists in America. His first novel showed power, a keen reportorial ability and a high sense of drama. 'It's Never Over' adds deep understanding of normal and abnormal human nature, and an unusual technical skill which is so sure that it seems almost instinctive."
D13 "Neurasthenic People." The New York Times Book Review, 9 March 1930, p. 9. Callaghan "has taken a theme that calls for infinite finesse, for a prose style that will encompass emotional subtleties and for the profound insight of a Dostoevsky into the springs of abnormal psychology. He has developed the theme without finesse, with only occasional rays of insight and with a prose style that, to say the least, becomes rather heavy plowing before the final page is reached."
D14 Shirley, Mary. "Pity for Murderess." Outlook and Independent, 12 March 1930, p. 425. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, pp. 252-53. Shirley complains that the novel is "based on an utterly false hypothesis": "The manner of Fred Thompson's dying, not the murder he committed, has been made the centre of conflict in this novel."
D15 Deacon, William Arthur. "Morley Callaghan Climbs to Safer, More Solid Ground." Mail and Empire, 22 March 1930, p. 11. Deacon rallies to Callaghan's defence against "the castigation" of American newspapers and hastens to correct the mistaken impression that he was hostile to the author's earlier books. It's Never Over "is still far from the great novel I believe we shall get from Callaghan one of these years," but represents "a most significant advance."
D16 Gregory, Horace. "Mr. Callaghan's Medium." The Nation, 2 April 1930, pp. 399-400. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writing, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 45-46. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 99. Horace compares Callaghan's prose style to that of Ernest Hemmgway's, but observes that despite his "hard-boiled" style, he is concerned with "the subtle, often tender, sometimes downright sentimental phases of human relationship." Although the book deals with "complex interrelationships," It's Never Over is related in a "simple, straightforward" manner. The reader's sympathy is aroused for the three main characters, and the minor figures are convincingly portrayed.
D17 Kronenburger, Louis. Rev. of It's Never Over. Bookman, April-May 1930, p. 219. The "style and the movement of [the] book are irreducibly simplified" and it "has no emphasis and little vitality."
D18 Davenport, Basil. "Crime and Catastrophe." Saturday Review of Literature, 21 June 1930, p. 1240. Callaghan's "reach conspicuously exceeds his grasp, but that reach shows him of a higher stature than last year." His style "grows positively painful in the longer form."
D19 Fulford, Robert. "1920s Toronto People Seem Like Creatures from Another Planet." Toronto Star, 14 Oct. 1972, p. 79. In his review of the Laurentian Library reprint, Fulford says It's Never Over "doesn't seem a failure to me now" and makes "interesting reading." Although "the characters are yesterday's people . . . and some of their concerns are now nearly forgotten .... the theme of the book is the permanence of significant events, the fact that people can't get out from under the pressure of the past, that there is in fact no such thing as forgetting."
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Record: 184- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Luke Baldwin's Vow
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Titles critiqued: LUKE Baldwin's vow (Book)
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- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
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Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Luke Baldwin's Vow
Kendle, Judith (compiler)
D100 Rev. of Luke Baldwin's Vow. Kirkus, 15 July 1948, pp. 337-38. "This is almost a philosophical dissertation on practical versus spiritual values and most of it over the heads and interests of ordinary readers this age."
D101 H[odges]., E[lizabeth]. Rev. of Luke Baldwm's Vow. The New York Times Book Review, 14 Nov. 1948, p. 60. "Dog lovers of 9 to 12 will doubtless read the story eagerly; adults may find it over-sentimental and somewhat unconvincing."
D102 E[vans]., E[rnestine]. "Older Boys and Girls." Commonweal, 19 Nov. 1948, p. 151. In a review of several books for older boys and girls, Evans suggests that Callaghan gives "full measure" for the young: "He seems to have sensed the strange strength in children for accepting death, working, vowing that love may last and grow." The book is "a truly manly contribution to boys' reading."
D103 McDonough, Irma. Rev. of Luke Baldwin's Vow. In Review, 8, No. 3 (Summer 1974), 20. In her review of the reprint, McDonough suggests the book is "a classic" that every youngster should have: "'One of the very best writers of this century' wrote it with the same care for the apt word and the same consideration of an intelligent audience that characterize some of his other works."
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Record: 185- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; More Joy in Heaven
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- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
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Titles critiqued: MORE joy in heaven (Book)
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- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; More Joy in Heaven
Kendle, Judith (compiler)
D38 Deacon, William Arthur. "Life and Death of Red Ryan." The Globe and Mail, 20 Nov. 1937, p. 10. Deacon comments on the "news values" of the story and warns Callaghan that "his fiction is ceasing to be adventurous."
D39 Fadiman, Clifton. "Books: Varieties of Moral Experience." Rev. of More Joy in Heaven, by Morley Callaghan; Ends and Means, by Aldous Huxley; and This Is My Story, by Eleanor Roosevelt. The New Yorker, 20 Nov. 1937, pp. 92-93. Admirers of Callaghan's "distinguished short stories" will be disappointed by the novel: "The weakness of the story lies in Kip himself .... To be moving goodness must be roamed to at least a modicum of intelligence."
D40 Ross, Mary Lowrey. "Callaghan's Latest." Saturday Night, 20 Nov. 1937, p. 10. More Joy in Heaven, "undoubtedly Mr. Callaghan's most distinguished novel," is "a strangely moving" and "bitterly ironical commentary on the return of the Prodigal Son."
D41 Adams, J. Donald. "A New Novel by Morley Callaghan." The New York Times Book Review, 28 Nov. 1937, p. 7. Callaghan's development is "slow," but he "has one of the finest talents among younger contemporary writers." More Joy in Heaven is "a more full-bodied story than any he had done" and is "much his best" in narrative power. "His touch falters now and then" when he puts words in the mouths of his characters.
D42 Kazin, Alfred. Rev. of More Joy in Heaven. New York Herald Tribune Books, 28 Nov. 1937, p. 10. While "even a weak novel by Morley Callaghan makes good reading," the book suggests he "has not found an adequate focus despite his efforts to avoid sleazy banalities of speech and movement." The novel is marred by "laboriousness" and the "vagueness" of its hero, Kip Caley.
D43 MacGillivray, J. R. "Letters in Canada: 1937. Fiction." University of Toronto Quarterly, 7 (April 1938), 348-51. More Joy in Heaven represents "a considerable advance" in Callaghan's mastery of his art, and the character of Kip Caley is especially well done "When [the author] has enlarged his imaginative domain . . . , he will be one of the finest novelists on this continent."
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Record: 186- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Morley Callaghan's Stories
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- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
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- Kendle, Judith (compiler)
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: MORLEY Callaghan's stories (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Morley Callaghan's Stories
Kendle, Judith (compiler)
D94 Fulford, Robert. "Surface Calm Hides Storms." Toronto Daily Star, 4 Sept. 1959, p. 33. "This collection is a triumph for Callaghan. He makes it plain, once again, that he is more than a major Canadian writer. He is a major writer on any terms." No writer "in all of modern literature" is more deceptive.
D95 McPherson, Hugo. "Morley Callaghan's April." The Tamarack Review, No. 13 (Autumn 1959), pp. 117.-16. McPherson feels "oddly let down." Although the "tales" are the work of "the most productive and substantial short-story writer that Canada has produced," they lack "robustness and authority," and McPherson wonders why. He suggests that Callaghan was "stranded between the two worlds" of Canadian and American experience.
D96 Avison, Margaret. "Callaghan Revisited." The Canadian Forum, March 1960, pp. 276-77. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadia Writers, No. 10. Toronto: McGraw-Hall Ryerson, 1975, pp. 74-77. Although Callaghan's use of "plain talk" has not dated, "obviously this style sacrifices some of the powers of language." A "social attitude is implied in [his] choice of words," but the emphasis is not so much on the poverty of the depression period as on the "common humanity" of his characters.
D97 Ricks, Christopher. "Murder in the Mtsensk District." Rev. of Morley Callaghan's Stories, by Morley Callaghan; Selected Tales, by Nikolai Leskov, trans. David Magarshack; Gilligan's Last Elephant, by Gerald Hanley; The Ox-Bow Incident, by Walter van Tilburg Clark; and Blood Brother, by Elliott Arnold. New Statesman, 17 Aug. 1962, p. 206. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, p. 255. Ricks reviews the first volume of the MacGibbon and Kee edition of Callaghan's stories, along with one other collection of short stories and three novels. The stories are "very good," although "... this volume alone may not add up to 'the most unjustly neglected writer in the English-speaking world,' as Edmund Wilson regards him."
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Record: 187- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; No Man's Meat & the Enchanted Pimp
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- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
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- Author(s):
- Kendle, Judith (compiler)
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- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: NO man's meat & the enchanted pimp (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; No Man's Meat & the Enchanted Pimp
Kendle, Judith (compiler)
D79 Owen, I. M. "Debut of D'Boot ...." Books in Canada, Oct. 1978, pp. 12-13. "The title, No Man's Meat, was then and is now in execrable taste. Somebody should have persuaded [Callaghan] to change it." Ilona Tomory, the heroine of "The Enchanted Pimp," "remains a creature of fantasy."
D80 Amiel, Barbara. "The World According to Girls Who Work at Night." Maclean's, 13 Nov. 1978, pp. 60-61. If "The Enchanted Pimp .... reveals that [Callaghan's] strength as a writer lies in characterization and his ability to tell a story about a world . . . beyond the perimeter of most readers' experiences," "No Man's Meat" reveals his "weakness"; the writing is "labored." Callaghan's reputation, Amiel insists, "seems precisely in accordance with the value of his work."
D81 Bobak, E. L. Rev. of No Man's Meat & The Enchanted Pimp. Dalhousie Review, 58 (Winter 1978-79), 793-95. "No Man's Meat" "is one of the best things Callaghan has ever done" and should be compared wtth the two novellas, "An Autumn Penitent" and "In His Own Country." "The Enchanted Pimp" seems to suffer by comparison: "There is a certain tiredness about some of the characters," and "the language somenmes balances on the fine line between absurdity and credibility."
D82 MacKendrick, Louis K. Rev. of No Man's Meat & The Enchanted Pimp. The Fiddlehead, No. 124 (Winter 1980), pp. 124-26. While both novellas "have distinct parallels with some earlier Callaghan pieces" and similar themes, "The Enchanted Pimp" is "a particular success." The symbolism of "No Man's Meat" is "obtrusive."
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
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Record: 188- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Now That April's Here and Other Stories
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
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- Reference Series
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: NOW that April's here and other stories (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Now That April's Here and Other Stories
Kendle, Judith (compiler)
D89 Ross, Mary Lowrey. "Callaghan's Stories." Saturday Night, 5 Sept. 1936, pp. 6-7. The "real power and quality of all these stories" is "that they take familiar people and in a brief moment of illumination make us feel that we are looking on them for the first time." The volume should be compulsory reading for all asparmg story writers.
D90 Y.,S. "Morley Callaghan's Stories and Other Recent Works of Fiction." The New York Times Book Rewew, 13 Sept. 1936, p. 6. Callaghan's perceptiveness is applauded, although many of the stories are "over-tenuous" and some of the shorter pieces are "dangerously near the sentimental." The author's "lyrical inferences and sympathy" are "startlingly unlike" the "bare, dry simplicity" of Erskine Caldwell or Hemingway.
D91 Jordan, Isabel. "Now That Callaghan's Here." New Frontier, 1, No. 6 (Oct. 1936), pp. 29-30. "This book of short stories by Canada's foremost living writer bears out Granville Hicks' conviction that the sensitive artist cannot help reflecting the cruelty and injustice which are invading the most intimate relations between individuals in the present order of society."
D92 Clark, Eleanor. Rev. of Now That April's Here and Other Stories. New Republic, 21 Oct. 1936, pp. 331-32. Clark complains about Callaghan's "narrow" range and the "thinness" of his material: "It is as if his characters. . .were somehow protected from historical change and so could afford to hover endlessly over little shifts in feeling." One story, "Two Fishermen," is "both sharp and well constructed."
D93 MacGillivray, J. R. "Letters in Canada: 1936. Fiction." University of Toronto Quarterly, 6 (April 1937), 363-65. Although there are "fine things" in the volume, MacGlllivray "was impressed by the strange, and apparently self-imposed, limitations of [Callaghan's] art as to subject, form, and style."
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
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Record: 189- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Strange Fugitive
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
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- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: STRANGE fugitive (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Strange Fugitive
Kendle, Judith (compiler)
DI Palmer, C. B. "Morley Callaghan on His Upward Way." Boston Evening Transcript, I Sept. 1928, p. 4. Palmer regards Callaghan as a "portraitist." Whereas earlier writers in the genre, men such as Charles Francis Coe and Ernest Hemingway, "have simply chronicled events," Callaghan "sets down the workings of a man's mind as he follows a course of law-breaking." Although "he makes no effort toward explanation," he exhibits a sure "instinct for hitting upon. . .the governing thread" in a man's life. "The only place one feels a lack is in [the] transitory matter."
D2 Sandwell, Bernard K. "A First Novel." Saturday Night, I Sept. 1928, pp. 8-9. Sandwell distinguishes between the problematic nature of the novel's setting and subject matter and "the artistic merits of the story" and suggests that the latter "are very great, though they may not be enurely obvious at first to those who are accustomed to the conventional heroics of old-style Canadian fiction." Callaghan belongs to a move- ment of "several young American writers. . .who have been most deeply influenced by European tendencies," and "their chief achievement. . . lies in a new treatment of the factor of time .... " The result of this method is to make the will appear almost negligible. "For a first novel the book is amazing."
D3 Chase, Cleveland B. "Morley Callaghan Tells What a Bootlegger Thinks About." The New York Times Book Review, 2 Sept. 1928, p. 7. Rpt. In Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 24-26. Chase praises Callaghan's "fresh and vivid" style, his "convincing" characterization, and "sparkling" dialogue, but has some reservations about his "dull and boring characters." Callaghan is said to be a disciple of Hemingway. Chase also includes a plot summary with some comments about the novel's central themes.
D4 "Strange Fugitive New Type in Canadian Realist Novel." Toronto Daily Star, 29 Sept. 1928, p. 13. The review notes that Strange Fugitive has been "lavishly eulogized in American newspapers," points out that "for the first time in Canadian literature Toronto is the whole scene of a long story," and claims that the novel is "the most untraditional piece of fiction ever produced by a Canadian." Although Callaghan has "uncommon power" and "a very definite knowledge of some aspects of life in a modern city," he also possesses "a totally cynical estimate of most people and a complete disdain of any of the merely artistic elements in writing." Includes a plot summary and brief snatches of dialogue. The novel is compared briefly to works by Sherwood Anderson, Theodore Dreiser, and Ernest Hemingway.
D5 Larsson, R. Ellsworth. "Ladies, Gunmen, Gods and War." Bookman, Oct. 1928, pp. 239-40. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, p. 252. In his review of seven disparate novels, Larsson doubts that Callaghan is a "genius." He wonders about the meaning of the novel's title, notes that Harry Trotter "is man, not hero..., an animal . . . [of] primitive emotions," and assigns Callaghan to the Hemingway school. "The style of the newspapers" dominates his writing.
D6 Ray, Margaret. "Strange Fugitive." University of Toronto Monthly, Oct. 1928, pp. 4-5, 18. Strange Fugitive "is a baffling study of a defeated life -- baffling, both because of the manner of the treatment, and because of the extreme difficulty, from the reader's point of view, of arriving at satisfactory conclusions." While the choice of Harry Trotter, as protagonist, is "courageous," Callaghan has seriously reduced the general interest in his book by having it revolve around bootlegging: "... to represent Toronto as an embryo Chicago seems ludicrous to most matter-of-fact Torontonians."
D7 Linscott, R. N. "Motor-Minded." New York Herald Tribune Books, 7 Oct. 1928, p. 7. Callaghan's novel is better than his story in transition, "the best, in fact, that has been written in what might be called the Ernest Hemingway tradition. The characters are completely real and solidly three-dimensional. One follows Harry's career with unswerving conviction, except for one incident--the cold blooded murder of Cosantino." The author's style is "a triumph of harmony; simple, natural, idiomati, wholly in keeping with theme and character." Harry thinks "with his muscles instead of with his brains."
D8 Fadiman, Clifton P. "Cable and Fine Wire." Nation, 10 Oct. 1928, pp. 370, 372. Strange Fugitive is compared with Edith Wharton's The Children and both novels are panned. Whereas Callaghan, "a pat example of a good, hard-boiled writer," sacrifices "variability or beauty of style, complication of character, neatness of construction, the exposition of a thesis or problem, the intrusion of the author's point of view, and--most important of all--the division of his personages into sympathetic and unsympathetic characters," Wharton is "true . . . to the Henry James formula" and "her paragraphs are all shows of subtlety." But neither novelist's characters can be believed: "There is a point at which directness transforms itself into banality and a point at which refinement becomes mere meticu- lousness." Fadiman refers to Harry Trotter as Jerry throughout.
D9 M[oorehead]., E[thel]. Rev. of Strange Fugitive. This Quarter, I, No. 4 (Spring 1929), 269-71. Moorehead observes that "... the author does not permit you to react to anyone else but Harry Trotter," with the result that "you find yourself racing through the slow and full parts, the quick and exciting parts, the important and unimportant slang in order to get outside of the mind of [the hero]." She suggests that Callaghan "has more punch than Hemingway" and predicts "... he may be a 'big guy' some day--when he is less hardboiled and does not worry so much about it." Includes a plot summary-cum-parody of the novel.
D10 Fefferman, Stan. "Morley Callaghan Revisited." The Telegram [Toronto], 21 March 1970, p. 57. A review of the 1970 Hurtig reprint. Fefferman relates the plot of Strange Fugitive, noting that the story originated in Callaghan's observation of a dance-hall fight. He traces Harry Trotter's decline into the world of boot-legging and murder. The story has not dated since its original publication and Fefferman attributes this to the impact of its protagonist's personality.
D11 Mitchell, Beverley. "Five Fiction Reprints." Journal of Canadian Fiction, 2, No. 4 (Fall 1973), 112-13. In her brief review of the Laurentian Library reprint of Strange Fugitive, Mitchell insists "... there is surprisingly little change in style between it and [Callaghan's] later works." She notes that ". . . the characters lack dimension and motivation, the plot lacks credibility, the dialogues lack purpose -- yet despite all this, there is a primitive sincerity about [the novel]." The work is "a parable without an apparent moral."
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
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Record: 190- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Such Is My Beloved
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
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- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: SUCH is my beloved (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Such Is My Beloved
Kendle, Judith (compiler)
D25 Deacon, Wilham Arthur. "Morley Callaghan Still Simple but Showing Increased Insight." Mail and Empire, 24 Feb. 1934, p. 7. The novel is "an achievement" in itself and augurs well for the future: "For the first time Callaghan wields authentic power." The author has evolved "from extreme seventy to a more natural variety of people and scenes" and here displays "a fine sympathy for suffering that arises out of social and moral conditions." The novel is especially recommended to Protestants, "who have never thought long on the altruism and idealism motivating young priests."
D26 Edgar, Pelham. "Callaghan's Best." Saturday Night, 24 Feb. 1934, p. 6. "A compelling theme had [sic] germinated in [Callaghan's] mind, and he has unfolded it with complete naturalness, and with a poetry and a power and an unfailing charity that should prove the most effective answer to the fastidious judgement that might shy at the apparent sordidness of his material." Edgar suggests that Callaghan has been influenced not only by Sherwood Anderson and Hemingway, but also "Flaubert, Balzac, Turgenev, and Tchekov."
D27 Morgan-Powell, Samuel. "Morley Callaghan, Missioner." The Montreal Star, 24 Feb. 1934, p. 22. Although Morgan-Powell claims to have read the novel twice, he gravely doubts that "such a theme as this is justifiable when the sincerity of the treatment is questionable, the socialistic propaganda intent obvious, and occasion is taken to convey a covert sneer at a high official of the Catholic Church." The reviewer "can hardly be certain as to the significance of the dedication: 'To those times with M. in the winter of 1933.'" The implication is that "M." might be Midge, the prostitute.
D28 Canby, Henry Seidel. "Sacred or Profane?". Saturday Review of Literature, 10 March 1934, p. 535. If Such Is My Beloved is "good sociology, it is better art. It is 'The Song of Solomon' worked out in terms of a sordid industrial town, where a simple but not naive soul encounters once again the complexity of love which cannot be divine without being human and cannot be human without involving the inconsistencies and inconveniences of experience." Canby also commends Callaghan's use of American speech and his honesty.
D29 "Growth in Morley Callaghan's New Novel." The New York Times Book Review, II March 1934, p. 9. "The ending of the novel is not quie satisfactory .... But Mr. Callaghan has written a moving and understanding novel on a delicate theme. His book is proof of greater range than he seemed to have and evidence of artistic growth."
D30 Rev. of Such Is My Beloved. Catholic World, April 1934, p. 122. A brief notice. The book is said to have no value either as a study of the various problems suggested or as a literary creation and is dismissed as an "'emancipated school-boy' piece of writing." The author is found to be curiously "inept and awkward" about things Catholic.
D31 Adler, Nathan. "Three Urban Studies." Rev. of Such Is My Beloved, by Morley Callaghan; The Young Manhood of Studs Lonigan, by James T. Farrell; and On the Shore, by Albert Halper. Partisan Revzew, I, No. 2. (April-May 1934), 47-50. A Marxist perspective. Adler concludes that, although all three writers show promise, they have not yet been able to break "the umbilic relation to the naturalist and romantic traditions of the past decade." Such Is My Beloved remains a slight book, "despite its freshness, simplicity, and excellent workmanship," because Callaghan has not related his characters to the city. He "has indicated beyond a doubt the economic base for prostitution as well as the class interest to which the church is bound."
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- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; That Summer in Paris: Memoirs of Tangled Friendships with Hemingway, Fitzgerald and Some Others
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Titles critiqued: THAT summer in Paris: Memoirs of tangled friendships with Hemingway, Fitzgerald and some others (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
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Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; That Summer in Paris: Memoirs of Tangled Friendships with Hemingway, Fitzgerald and Some Others
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D104 French, William. "Hemingway Got the Punchline of This Story." The Globe and Mail, 12 Jan. 1963, p. 17. That Summer in Paris "is a fascinating book, not only for its documentanon of literary history and its vivid recreation of Parts in 1929, but for the insights it offers into Hemingway, Fitzgerald, James Joyce and a host of other literary figures-including Mr. Callaghan himself .... If he sometimes seems to be . . . probing too deeply for meaning, it should be remembered that his complex characters invite that sort of treatment."
D105 Hicks, Granville. "They Were Young and Not So Gay." Saturday Review of Literature, 12 Jan. 1963, p. 62. "Callaghan has tried to tell the story honestly, and he has probably succeeded about as well as a human being could be expected to. It is not his fault if he appears in a better light than Fitzgerald and Hemingway, and in a much better light than the latter." Hicks disagrees with the strength of Edmund Wilson's assessment (C199).
D106 Barrett, William. "Subtle Memoirist." Atlantic Monthly, Feb. 1963, p. 132. "Such is the compelling simplicity of [Callaghan's] art that he convinces us that the way he is telling it is exactly the way it must have been."
D107 Mailer, Norman. "Punching Papa." The New York Review of Books, I, No. I (Feb. 1963), p. 13. Rpt. in Cannibals and Christians. By Norman Mailer. New York: Dial, 1966, pp. 156-59. Rpt. ("Punching Papa: A Review of That Summer in Paris") in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 120-23. "If one knows some of the people menuoned, or is obsessed with the period, then Morley Callaghan's memoir will satisfy. But it is not a good book. It is in fact a modest bad dull book which contains a superb short story about Hemingway, Fitzgerald, and Callaghan."
D108 Saroyan, William. "Americans in Paris, 1929." The New Republic, 9 Feb. 1963, pp. 26-28. Rpt. (revised--"The Adventures of American Writers in Paris in 1929") in I Used to Believe I Had Forever Now I'm Not So Sure. By William Saroyan. N.p.: Cowles, 1968, pp. 85-90. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hall Ryerson, 1975, pp. 124-28. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, p. 255. Saroyan recalls his first reading of Callaghan's stories and suggests he is a "real" writer: "Callaghan's fight seems to have been the easiest simply to write well and to go on writing well, which he managed to do, which he is still doing, which he does in this book, slight and anecdotal as it is."
D109 Wilson, Edmund. "That Summer in Paris." The New' Yorker, 23 Feb. 1963, pp. 139-48. Rpt. in The Bit between My Teeth: A Literary Chronicle of 1950-1965. By Edmund Wilson. New York: Farrar Straus and Giroux, 1965, pp. 515-25. Wilson suggests that Callaghan's account of Hemingway and Fitzgerald is "perfectly accurate" and compares the author favourably with both of the other writers. He then goes on at length to condemn Hemingway's public personality. See C224 for Mary Hemingway's reply.
D110 Hutchens, John K. "Time 1929 ... Place: The Left Bank." New York Herald Tribune Books, 21 April 1963, pp. 6, II. While Callaghan's "affection for the two Americans [Hemingway and Fitzgerald] was genuine .... he saw them so clearly, recognized and analyzed their virtues and imperfections so acutely, that from now on no study of either of them can conceivably overlook this reminiscence."
D111 "Literary Fisticuffs." The Times Literary Supplement, 1 Nov. 1963, p. 885. The book is "a pleasant exercise in literary craft .... Mr. Callaghan is too experienced a writer not to know that the incident [the boxing match] in itself has not enough body or significance to justify a book, but he saves it from being merely anecdotal by skllfully incorporating some interesting passages of early autobiography and taking the opportunity of making some shrewd observations on other notable characters in Paris at the same time."
D112 Rees, David. "Trust the Tale." Rev. of That Summer in Paris: Memories of Tangled Friendships with Hemingway, Fitzgerald and Some Others, by Morley Callaghan; Short Stories, Vols. V-VI of The Bodley Head Scott Fitzgerald, by F. Scott Fitzgerald, ed. Malcolm Cowley; and The Pat Hobby Stories, by F. Scott Fitzgerald. The Spectator [London, Eng.], 15 Nov. 1963, p. 631. Rees suggests that Callaghan has written "a splendid piece of autobiography which will be read and re-read not only for its description of the phenomenom of America in Paris during the 1920s, but for its insight into the character of Fitzgerald and Hemingway."
D113 Carroll, John. "Letters in Canada: 1963. Humanities." University of Toronto Quarterly, 33 (July 1964), 424-26. "The interest of the book is not borrowed, as it easily might have been, from the extravagant personalities of Hemingway and Fitzgerald, rather, as a study of character, and as a carefully shaped narrative, That Summer in Paris should take its place beside Callaghan's best work."
D114 Rovit, Earl. Rev. of That Summer in Paris: Memories of Tangled Friendships with Hemingway, Fitzgerald and Some Others. Books Abroad, 39, No. I (Winter 1965), 91. "Callaghan's narration of the events of that summer strike this reviewer as basically sound, but ultimately unilluminating and irrevelant. He adds nothing new to the portraits of Hemingway and Fitzgerald .... "
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
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Record: 192- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; The Loved and the Lost
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: LOVED and the lost (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; The Loved and the Lost
Kendle, Judith (compiler)
D44 Ross, Mary. "Morley Callaghan Returns with a Memorable Novel." New York Herald Tribune Books, 18 March 1951, p. 6. "To have brought such an issue [race relations] and so many people to life in so brief a book is in itself a tour de force. Mr. Callaghan's restraint and perceptiveness make 'The Loved and the Lost' a distinguished and memorable novel." Peggy Sanderson is "not easily forgotten."
D45 Deacon, William Arthur. "Stupid Montreal Girl Feeds Race Prejudice." The Globe and Mail, 24 March 1951, p. 10. While he admits the novel represents an advance "in maturity of thought and technical control," Deacon does not like it: "Can we speak of The Loved and the Lost as tragedy when no high passion nor great principle is involved and where violence stirs muddle-headed people almost by accident?" Peggy Sanderson is "not worth the uproar."
D46 Sandwell, B[ernard]. K. "The Hurt without Help." Saturday Night, 27 March 1951, p. 7. Sandwell speculates about Callaghan's "thesis" and concludes: "This is probably [the author's] finest, and certainly his tenderest novel. His determination to keep all his characters wtthin the dimensions of the ordinary run-of-the-mill human being prevents it, I think, from being an absolutely great novel. Peggy is not a tragic character."
D47 Dever, Joe. Rev. of The Loved and the Lost. Commonweal, 20 April 1951, p. 42. The reviewer thinks Callaghan has written "the modern American interracial novel of distinction."
D48 Hass, Victor P. "New 'Racial' Novel Fails to Convince." Chicago Tribune, 13 May 1951, Sec. Book, p. 6. "This is an unconvincing and faintly embarrassing story about race relations. It is unconvincing because the hero, a brilliant journalist, is portrayed as a fatuous numbskull. It is embarrassing because the heroine is an odd stick and a tramp in the bargain."
D49 Keate, Stuart. "Montreal Nocturne." The New York Times Review, 20 May 1951, p. 18. "If the story is romantic, implausible, and almost snobbishly liberal, the writing is deft and the descriptions of Montreal's byways authentic. Yet this is strange fruit, indeed, for the snowbound Canadian metropolis."
D50 Malloch, A. E. Rev. of The Loved and the Lost. The Canadian Forum, June 1951, p. 70. "Perhaps it is not too much to hope that in this book the dead-end facing Morley Callaghan will be so obvious to the contemporary writers who share his technique that The Loved and the Lost will some day be regarded as a most significant work in Canadian literature."
D51 Bonenfant, Jean-Charles. "Quatre romans recents." Rev. of The Loved and the Lost, by Morley Callaghan; Each Man's Son, by Hugh MacLennan; The Nymph and the Lamp, by Thomas H. Raddall; and Home Is the Stranger, by Edward McCourt. Revue de l'Universite Laval, 6 (sept. 1951), 51-53. "Le dernier roman de Callaghan plait et decoit en meme temps. L'ecrivain de talent nous captive pendant plusieurs heures par la magie du style et ses qualites de conteur mais nous lui en voulons presque d'etre incapable de nous reveler toute la complexite de l'ame de Peggy et surtout d'etre incapable d'expliquer sa vie et sa mort." Le roman inclue l'une des meuilleur descriptions d'un match de hockey dans les lettres modernes.
D52 Bissell, Claude T. "Letters in Canada: 1951. Fiction." University of Toronto Quarterly, 21 (April 1952), 260-63. Bissell praises the novel's theme, exposition, and "physical background." Although The Loved and the Lost does not represent "a new departure," it is "not only Mr. Callaghan's best novel, but one of the best contemporary Canadian novels.'"
D53 "A Neglected Talent." The Times Literary Supplement, 17 Nov. 1961, p. 817. In a review of the MacGibbon and Kee edition of the novel, the British reviewer agrees with Edmund Wilson that Callaghan is "a fine talent," but suggests that a certain "generality of scene and character is perhaps a source of weakness." His chosen theme is "the fate of the idealist in society" and "he frequently reminds us of Mr. Graham Greene."
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
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Record: 193- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; The Many Colored Coat
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: MANY colored coat (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; The Many Colored Coat
Kendle, Judith (compiler)
D54 Kervin, Roy. "Morley Callaghan's Montrealers." The Gazette [Montreal], 3 Sept. 1960, p. 29. Kervin complains about Callaghan's lop-sided portrait of Montreal and his unbelievable characters, and claims the book is "hastily, carelessly written."
D55 Ludwig, Jack. "Fiction for the Majors." Rev. of The Many Colored Coat, by Morley Callaghan; and The Luck of Ginger Coffey, by Brian Moore. The Tamarack Review, No. 17 (Autumn 1960), pp. 65-71. Ludwig compares The Many Colored Coat with Brian Moore's The Luck of Ginger Coffey and decides that Moore's is the better book. Callaghan's novel lacks style: "... where Moore risks all on the character of Ginger Coffey, Callaghan commits his book to his theme and his action." Both novels have similar themes, attitudes, and answers.
D56 Edinborough, Arnold. "Callaghan and the Human Condition." Saturday Night, 15 Oct. 1960, pp. 27-28. Edinborough does not agree that The Many Colored Coat is "the best thing" that Callaghan has ever written, although the novel is "an honest and deeply-felt attempt to translate a profound moral question into fictional terms." The book's chief fault is its unbelievable characters.
D57 Solotaroff, Theodore. Rev. of The Many Colored Coat, by Morley Callaghan; The General, by Alan Sillitoe; Among the Dangs, by George P. Elliot; and The Glass Bees, by Ernst Juenger. Partisan Review, 28 (March-April 1961), 301-02. Solotaroff disagrees with Edmund Wilson (C199). Callaghan's new novel is "an abrupt ten foot drop from the level of professional competence that one remembers him sturdily maintaining." The work is "simply one long cliche on the problem of personal integrity in our corrupt times" and founders "on the rocks of what are finally ambivalent and sentimental assumptions about modern society."
D58 Watt, F. W. "Letters in Canada: 1960. Fiction." University of Toronto Quarterly, 30 (July 1961), 402-04. Although "the boldness of this novel's conception is apparent," Watt suggests that "... at some point for most readers. . .the tension [between the novel's social and spiritual significance] breaks, dwindling into dreary and incongruous triviality on the one hand and swelling into pretentious religiosity on the other."
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Record: 194- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; The Varsity Story
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- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 5
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- Kendle, Judith (compiler)
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- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: VARSITY story (Book)
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- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; The Varsity Story
Kendle, Judith (compiler)
D115 Sandwell, B[ernard]. K. "Callaghan on the Soul, Aldwinckle on the Fabric of the University of Toronto." Saturday Night, 25 Sept. 1948, pp. 2-3, 24. The novel is of very limited appeal: "[Mr. Callaghan] has been walking round the university three times a week for twenty years with a Geiger counter or a seismograph or a divining rod or whatever it is that novelists use when looking for souls, and every now and then he is convinced he gets a wiggle. He has written a book about these wiggles." The technique is "clever."
D116 Pacey, Desmond. "A Search for the Essence of Alma Mater." The New York Times Book Review, 16 Jan. 1949, p. 4. The book is "a subordinate and incidental item in the Callaghan canon," although it may be read with pleasure "by every graduate and former student of the University of Toronto, by those interested in the Canadian way of life and by those concerned with the role of the university in the modern world."
D117 Halsband, Robert. "Combination Chips and Socrates." Saturday Review of Literature, 5 Feb. 1949, p. 21. Although The Varsity Story "cannot easily be classified," the book is important because "... the questions it raises are significant to universities on both sides of the Great Lakes." Stylistically, the work is "first rate."
D118 Bissell, Claude T. "Letters in Canada: 1948. Fiction." Universtty of Toronto Quarterly, 18 (April 1949), 272-73. Bissell thinks Callaghan should have written "a series of descripuve and reflective sketches" instead of a novel: the characters are "creaky makeshifts" and the plot implausible. If "'these elements are part of a total ironic pattern . . . , Mr. Callaghan has purchased subtlety at a very high price."
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
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Record: 195- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; They Shall Inherit the Earth
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- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 5
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- Kendle, Judith (compiler)
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- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: THEY shall inherit the Earth (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
p. 154-155 (2 p.) - Links:
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; They Shall Inherit the Earth
Kendle, Judith (compiler)
D32 Deacon, William Arthur. "Callaghan at Full Stature." Mail and Empire, 14 Sept. 1935, p. 6. Deacon pleads for understanding of the "idyllic" love affair of Mike and Anna, who are technically liviing in sin, and concludes: "Mr. Callaghan has graduated from his apprenticeship; he has delivered the first of his major productions and stands on the threshold of a great career." The review includes a photograph of Callaghan and his son, Michael, captioned "Toronto Novelist as Proud Father."
D33 Edgar, Pelham. "The Seeing Eye." Saturday Night, 21 Sept. 1935, p. 7. Although he wishes there was "a freer play of humour and irony" in the novel and that Callaghan's characters were more intellectual, Edgar says "thas book is so good that it is an imper- tinence to wish it other than it is."
D34 Kronenburger, Louis. "Good Intentions." Nation, 25 Sept. 1935, p. 361. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, p. 253. "Mr. Callaghan's ending is simplicity itself, but of a fatuous rather than an inspired kind. Everybody is left as happy as the virtuous people in fairy tales, and everybody is left darn near as virtuous." The author's chief fault is a noticeable lack of a sense of humour.
D35 Bessie, Alvah C. "The Importance of Not Being Ernest." Saturday Review of Literature, 28 Sept. 1935, p. 6. Callaghan is compared favourably with Hemingway and is said to have avoided the latter's "dead-end." They Shall Inherit the Earth is "a novel distinctly of our own times; its people are recognizable, and they possess the animation of the living."
D36 Adams, J. Donald. "Morley Callaghan's Best Novel." The New York Times Book Review, 6 Oct. 1935, pp. 6, 25. Adams applauds the marked "growth" evident in this novel, despite some shortcomings, and regrets "the Hemingway influence." Callaghan has "far greater sensitivity" and a wider range of human sympathy and understanding than Hemingway.
D37 Broadus, E. K. "Letters in Canada: 1935. Fiction." University of Toronto Quarterly, 5 (April 1936), 369-71. "There is a story that holds the interest of the reader, and a few almost real people." Broadus is incredulous at the book's banning by the Toronto Public Library: "... I looked for the pornography. Well, there isn't any."
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
Item Number: ABCMA05MCP2000005001004005
Record: 196- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Winter
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: WINTER (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected book reviews; Winter
Kendle, Judith (compiler)
D119 Morley, Pat. "Frozen Beauties." The Ottawa Journal, 23 Nov. 1974, p. 36. Whereas de Visser in his photographs "has allowed the lonely grandeur of the land to upstage her inhabitants," Callaghan's "brief but suggestive text. . . helps to restore the balance." Morley also points out that Callaghan attacks as "romantic myth" the suggestion that the Canadian psyche has been profoundly influenced by "a subsconscious awareness of the vast Arctic icepack." The book is a good way "to spend a winter evening."
D120 Appenzell, Anthony [George Woodcock]. "The Vogue of the Big Book." Rev. of Winter, by Morley Callaghan; The Gaiety of Gables, by Anthony Adamson and John Willard; A People's Art, by J. Russell Harper; and The Mountains and the Sky, by Lorne E. Render. Canadian Literature, No. 63 (Winter 1975), pp. 98-101. In a critical review of four overweight "coffeetable-sized" books, Appenzell suggests that the two parts of Winter do not merge: "Callaghan, as a good essayist, writes out of his own memories and impressions, ignoring the photographs that are to accompany his prose, and as his memories are extraordinarily visual they create their own image in the mind's eye and do not require physical illustration." The volume has the feeling of "a made book, thought up in a publishing office .... "
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
Item Number: ABCMA05MCP2000005001004020
Record: 197- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected film reviews; Now That April's Here
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected film reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: NOW that April's here (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected film reviews; Now That April's Here
Kendle, Judith (compiler)
D133 Pratley, Gerald. "Films." Vision, June I958, pp. 12-13. A mixed review which suggests that Callaghan's stories are difficult material to translate to the screen and that their emotional depths have not been conveyed. Pratley doubts the wisdom of a premiere; it raises expectations too high.
D134 "Thin String," Time [Canada], 30 June 1958, p. 10. Although the casting is flawless and the acting excellent, "... the wispy, narrowly focused love stories, all set in Toronto, give neither cast nor director much chance for contrast and pace, [and] tend to take on an air of sameness."
D135 McStay. "Now That April's Here (Canadian)." Variety, 9 July 1958, pp. 6, 16. Dismisses the film as a "Toronto-made feature of amateur acting standards and limited prospects." Includes a full list of credits.
D136 Gilmour, Clyde, "Maclean's Movies." Maclean's, 2 Aug. 1958, p. 26. Gilmour rates the current crop of movies, including Now That April's Here directed by William Davidson: "this bleak all-Canadian production" is "fair."
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
Item Number: ABCMA05MCP2000005001004024
Record: 198- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected play reviews; Going Home
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected play reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: GOING home (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected play reviews; Going Home
Kendle, Judith (compiler)
D125 Macdonald, Rose. "Callaghan's 'Going Home' Well Staged." The Telegram [Toronto], 25 March 1950, p. 38. The reviewer objects to the "interminable" length of the first scene of Act III: "Unfortunately Mr. Callaghan was thinking as a novehst rather than as a playwright when he wrote this particular episode." Includes a brief description of Callaghan's curtain speech.
D126 Whittaker, Herbert. "Show Business." The Globe and Mail, 27 March 1950, p. 28. Because of its "bold and violent" theme and "strangely harrowed, highly-colored" characters, Whittaker suggests that Callaghan's play is likely to prove the most controversial of the New Play Society season, and that it may indeed be better suited to Broadway's sophisticated tastes than Toronto's. He also alludes to some revisions of the play after the Saturday night performance that put "the insanity rumour" to rest. Includes a plot summary of the Saturday night version and assessments of the acting.
D127 Cohen, Nathan. "Drama." Rev. of Going Home, by Morley Callaghan; "The Drums Are Out," by John Coulter; and "King Phoenix," by Robertson Davies. The Critic, I, No. 2 (April 1950), 4-6. Although the authors have little in common, "... the point of emotional culmination [in all three plays] revolves around an act of self-destruction (voluntary or involuntary) to be committed by a father for the sake of a chdd." The same theme recurs in other recent Canadian plays, as does a compulsion to challenge or shock. The latter reveals more about retroactive puritanism in the artist than it does about Canadian society. Callaghan's sex scenes "have no dramatic legitimacy," and "all that [Going Home] offers, apart from good intentions, is a collection of the shabbier ideas and symbols which currently proliferate [sic] American drama."
D128 Ross, Mary Lowrey. "Going Home." Saturday Night, 11 April 1950, p. 39. Ross defends the play and suggests that "... much of the censure was based on a complete misunderstanding of the author's retention"; Going Home was not intended as naturalistic drama, but "is in the tradition of Irish drama, in which the colloquial, in moments of dramatic intensity, is turned to the uses of poetry."
D129 Prat, Hyperbole. "Theatre." The Canadian Forum, May 1950, pp. 40-41. The play is panned: "Callaghan pays his audiences the doubtful compliment of writing for them as if they were, every last member, congenitally idiotic."
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
Item Number: ABCMA05MCP2000005001004022
Record: 199- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected play reviews; Season of the Witch
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected play reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: SEASON of the witch (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected play reviews; Season of the Witch
Kendle, Judith (compiler)
D130 Porter, McKenzie. "Callaghan's Witch Gripping Show." Toronto Star, 5 July 1976, p. 22. A "mixed" review; "although the exposition in Act One needs rewriting" and "a touch of comedy here and there would have been a welcome relief," the work "eventually reaches the level of a thriller in its suspense." Includes a plot summary.
D131 Whittaker, Herbert. "Callaghan Play Gets a Facelift." Rev. of Season of the Witch, by Morley Callaghan; and Exit Muttering, by Donald Jack. The Globe and Mail, 12 July 1976, p. 15. Whittaker spots the unacknowledged similarities between this 1976 Peterborough Summer Theatre producuon and the 1950 New Play Society production of Going Home, and suggests that although the new role seems to throw the emphasis on the character of Selena, Eliot Hunter's second wife, the basic conflict is the same. He finds the drama "well and truly plotted," but the emphasis on past resentments "over-done."
D132 Mallet, Gina. "Plays at Peterborough Festival Don't Demand Commitment." Rev. of Season of the Witch, by Morley Callaghan; Exit Muttering, by Donald Jack; and Wa-Sha-Quon-Asin: Grey Owl, by Joseph McLeod. Toronto Star, 19 July 1976, p. D4. "As a group [the three plays] are a mosaic of contrasts" and "McLeod's play comes off the best." The first act of Season of the Witch is "brisk enough," but after that "... the structure of the play collapses and the characters wander off into a morass of platitudes about families, love, growing up, etc."
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
Item Number: ABCMA05MCP2000005001004023
Record: 200- Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected play reviews; To Tell the Truth
- Other Title:
- Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected play reviews
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Kendle, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: CALLAGHAN, Morley; CALLAGHAN, Morley -- Criticism & interpretation -- Bibliography
Titles critiqued: TO tell the truth (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Kendle, Judith (compiler) Part 2: Works On Morley Callaghan.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 53-169)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MCP2
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Source: Part 2: Works On Morley Callaghan. Kendle, Judith (compiler); Toronto, Ontario : ECW Press, 1984, pp. 53-169
Part 2 Works on Morley Callaghan; Selected book, play, and film reviews; Selected play reviews; To Tell the Truth
Kendle, Judith (compiler)
D121 M., C. R. "Canadian Play Has Premiere Finely Acted." The Telegram [Toronto], 15 Jan. 1949, p. 31. "The play remains a pattern, almost kaleidoscopic, of fascinating character sketches rather than a closely articulated drama," and depends "much on Saroyan."
D122 McF., R. "Excellent Cast Presents Callaghan Premiere." The Globe and Mail, 15 Jan. 1949, p. 8. "Inevitably, a comparison is made with Saroyan: a feeling of having heard something like this before."
D123 Van Gogh, Lucy [B. K. Sandwell]. "Callaghan Premiere." Saturday Night, 25 Jan. 1949, p. 19. Although the production is "a major event," the play has "two sources of weakness": there is "too much statement of the thesis in terms of philosophical discussion rather than action," and too many characters.
D124 McNeill, J. A. "All-Canadian Cast Display Talents in Callaghan Tale." The Globe and Mail, 8 Feb. 1949, p. 17. McNeill reviews the play after its move to the Royal Alexandra Theatre and suggests that comparison with Saroyan is "inevitable," although there is "promise of better things." He is critical of the play's introduction, dialogue, and character development.
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Source: Kendle, Judith (compiler); . Part 2: Works On Morley Callaghan, Toronto, Ontario : ECW Press, 1984. pp. 53-169 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MCP2.
Item Number: ABCMA05MCP2000005001004021
Record: 201- Title:
- Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts; Audio-visual material
- Other Title:
- Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 1: Works By Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 355-364)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP1
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Source: Part 1: Works By Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 355-364
Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts; Audio-visual material
Thacker, Robert (compiler)
A6 Lives of Girls and Women. [Sound recording.] Toronto: Institute for the Blind, 1974. (7 cassettes; 2-track; mono; 9 hr., 30 min.) See A1.
A7 Something I've Been Meaning to Tell You. [Sound recording.] Toronto: Institute for the Blind, 1977. (6 cassettes; 2-track; mono; 9 hr.) See A3.
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Source: Thacker, Robert (compiler); . Part 1: Works By Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 355-364 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP1.
Item Number: ABCMA05AMP1000005004001003
Record: 202- Title:
- Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts; Manuscripts
- Other Title:
- Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 1: Works By Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 355-364)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP1
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Source: Part 1: Works By Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 355-364
Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts; Manuscripts
Thacker, Robert (compiler)
A8 Alice Munro Papers
Department of Rare Books and Special
Collections
University of Calgary Library
Calgary, Alberta
The collection has been described as follows: Approximately 3 metres, inclusive dates 1951-77. The correspondence files include letters from Margaret Atwood, Marian Engel, Jack Hodgins, Margaret Laurence, Hugh MacLennan, Al Purdy, Mordecai Richler, and others. The literary mss. date from 1951 and include drafts of Who Do You Think You Are?. There are many variant drafts of both her short stories and novel, and tear sheets of published versions. Much of the collection remains to be identified, although this work has begun.
A9 The Margaret Laurence Papers
York University Archives
Scott Library
York University
Downsview, Ontario
The Margaret Laurence Papers contain 10 letters from Alice Munro to Margaret Laurence: 22 February 1976 (I p.), 23 February 1976 (2 pp.), 26 May 1976 (2. pp.), 5 June 1976 (2. pp.), 4 February 1978 (5 pp.), 16 July 1978 (5 pp.), 16 August 1978 (2. pp.), 25 August 1978 (I p.), 20 September 1978 (1 p.), and 9 June 1980 (2 pp.).
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Source: Thacker, Robert (compiler); . Part 1: Works By Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 355-364 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP1.
Item Number: ABCMA05AMP1000005004001004
Record: 203- Title:
- Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts; Novel
- Other Title:
- Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 1: Works By Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 355-364)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP1
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Source: Part 1: Works By Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 355-364
Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts; Novel
Thacker, Robert (compiler)
[underbar]
A1 Lives of Girls and Women. Toronto: McGraw-Hill Ryerson, 1971. 254 pp.
[underbar]. New York: McGraw-Hall, 1972. 250 pp.
[underbar]. Boston: G. K. Hall, 1973. 483 pp. Large-print edition.
[underbar]. London: Allen Lane, 1973. 250 pp.
[underbar]. New York: New American Library, 1974. 211 pp.
[underbar]. Scarborough, Ont.: New American Library, 1974. 211 pp.
[underbar]. London: Women's, 1978. 211 pp.
Kleine Aussichten: Ein Roman von Madchen und Frauen. Trans. Hildegard Petry. Stuttgart: KlettCotta, 1983. 324 pp. The English editions include the following chapters: "Age of Faith," "Baptizing," "Changes and Ceremonies," "Epilogue: The Photographer," "The Flats Road," "Heirs of the Living Body," "Lives of Girls and Women," and "Princess Ida.'"The German translation includes the following chapters: "Alter der Glaubigkeit," "Epilog: Der Fotograf," "Die Erben des menschlichen Korpers," "Die Flats Road," "Das Leben von Madchen und Frauen," "Prinzessin Ida," "Taufe," and "Veranderungen und Zeremonien."
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Source: Thacker, Robert (compiler); . Part 1: Works By Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 355-364 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP1.
Item Number: ABCMA05AMP1000005004001001
Record: 204- Title:
- Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts; Short stories
- Other Title:
- Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 1: Works By Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 355-364)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP1
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Source: Part 1: Works By Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 355-364
Part 1 Works by Alice Munro; Books (novel and short stores), audio-visual material, and manuscripts; Short stories
Thacker, Robert (compiler)
A2 Dance of the Happy Shades. Foreword Hugh Garner. Toronto: Ryerson, 1968. xi, 224 pp.
Dance of the Happy Shades and Other Stories. New York: McGraw-Hill, 1973. 224 pp.
[underbar]. London: Allen Lane, 1974. 224 pp.
La Danse des Ombres: Nouvelles. Trans. Colette Tonge. Montreal: Quebec/Amerique, 1979. 273 pp.
The English editions include "Boys and Girls" (B19), "Dance of the Happy Shades" (B16), "Day of the Butterfly" (B10), "Images," "The Office" (B18), "An Ounce of Cure" (B17), "The Peace of Utrecht" (B14), "Postcard" (B21), "Red Dress-1946" (B20), "The Shining Houses," "Sunday Afternoon" (B13), "Thanks for the Ride" (B11), "The Time of Death" (B9), "A Trip to the Coast" (B15), and "Walker Brothers Cowboy."
The French translation includes "Le bureau" (B18), "La carte postale" (B21), "Le cow-boy colporteur," "La Danse des ombres" (B16), "Garcons et filles" (B19), "L'heure de la morte" (B9), "Images," "Le jour du papillon" (B10), "Merci pour la balade" (B11), "Le quartier neuf," "La robe rouge -- 1946" (B20), "Le traite d'Utrecht" (B14), "Un dimanche apres-midi" (B13), "Un remede radical" (B17), and "Voyage a la cote" (B15).
A3 Something I've Been Meaning to Tell You: Thirteen Stories. New York: McGraw-Hill, 1974. 246 pp.
[underbar]. Toronto: McGraw-Hill Ryerson, 1974. 246 pp.
[underbar]. New York: New American Library, 1975. 197 pp.
[underbar]. Scarborough, Ont.: New American Library, 1975. 197 pp. Includes "Executioners," "Forgiveness in Families" (B27), "The Found Boat," "How I Met My Husband" (B25), "Marrakesh," "Material" (B22), "Memorial ," "The Ottawa Valley," "Something I've Been Meaning to Tell You," "The Spanish Lady," "Tell Me Yes or No" (B26), "Walking on Water," and "Winter Wind."
A4 Who Do You Think You Are?. Toronto: Macmillan, 1978. 206 pp.
The Beggar Maid: Stories of Flo and Rose. New York: Knopf, 1979. 210 pp.
Who Do You Think You Are?. Scarborough, Ont.: Macmillan-NAL, 1979. 210 pp.
The Beggar Maid: Stories of Flo and Rose. London: Allen Lane, 1980. 210 pp.
Pour qui te prends-tu?. Trans. Colette Tonge. Montreal: Quebec/Amerique, 1981. 304 pp.
The Beggar Maid: Stories of Flo and Rose. New York: Bantam Windstone, 1982. 242 pp.
Das Bettlermadchen: Geschicten von Flo und Rose. Trans. Hildegard Petry. Stuttgart: Klett-Cotta, 1982. 289 pp.
Tiggerpiken. Trans. Berit Hoff. Oslo: Glydendal Norsk Forlag, 1982. 291 pp.
The English editions include "The Beggar Maid" (B29), "Half a Grapefruit" (B34), "Mischief'' (B32), "Privilege" (B23), "Providence" (B30), "Royal Beatings" (B28), "Simon's Luck" (B38), "Spelling" (B36), "Who Do You Think You Are? ", and "Wild Swans" (B33).
The French translation includes "Betises" (B32), "La chance de Simon" (B38), "Cygnes sauvages" (B33), "Le don d'epeler" (B36), "La jeune mendiante" (B29), "Pour-qui te prends-tu? ", "Privilege" (B23), "Providence" (B30), "Royales raclees" (B28), and "Un demi-pamplemousse" (B34).
The German translation includes "Das Bettlermadchen" (B29), "Buchstabieren" (B36), "Eine furstliche Abreibung" (B28), "Eine halbe Grapefruit" (B34), "Pech" (B32), "Simons Gluck" (B38), "Unverletzbarkeit" (B23), "Vorsehung" (B30), "Was glaubst du, wer du bist?", and "Wilde Schwane" (B33).
The Norwegian translation includes "En halv grapefukt" (B34), "Hvem tror du du er?", "Kongelig juling" (B28), "Privilegium" (B23), "Rampastreker" (B32), "Simons Rykketegn" (B38), "Skjebne" (B30)", "Staving" (B36), "Tiggerpiken" (B29), and "Ville svaner" (B33).
A5 The Moons of Jupiter. Toronto: Macmillan, 1982. 233 pp.
[underbar]. New York: Knopf, 1983. 233 pp.
[underbar]. Harmondsworth, Eng.: Penguin, 1983. 233 pp. Includes "Accident" (B31), "Bardon Bus," "Chaddelys and Flemings: I. Connection" (B39), "Chaddelys and Flemings: 2. The Stone in the Field" (B41), "Dulse" (B42), "Hard-Luck Stories," "Labor Day Dinner" (B46), "The Moons of Jupiter" (B35), "Mrs. Cross and Mrs. Kidd" (B47), "Prue" (B45), "The Turkey Season" (B44), and "Visitors" (B49).
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Source: Thacker, Robert (compiler); . Part 1: Works By Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 355-364 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP1.
Item Number: ABCMA05AMP1000005004001002
Record: 205- Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Short stories
- Other Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 1: Works By Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 355-364)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP1
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Source: Part 1: Works By Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 355-364
Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Short stories
Thacker, Robert (compiler)
[underbar]
Note: When an item is reprinted in one of Munro's books, this fact is noted in entry though one of the following abbreviations:
Das Bettlermadchen: Geschichten von Flo
und Rose. . . . . . . . . . . . . . . . B:GFR
Dance of the Happy Shades. . . . . . . . . DHS
La Danse des Ombres: Nouvelles. . . . . . . DO
Lives of Girls and Women. . .. . . . . . . LGW
The Moons of Jupiter. . . . . . . . . . . . MJ
Pour qui te prends-tu?. . . . . . . . . . .Pqtp
Something I've Been Meaning to
Tell You. . . . . . . . . . . . . . . .. SIBM
Tiggerpiken. . . . . . . . . . . . . . . Tig.
Who Do You Think You Are?. . . . . . . . . WDYT
B1 [Laidlaw, Alice.] "The Dimensions of a Shadow." Folio [Univ. of Western Ontario], 4, No. 2 (April 1950), [4-10].
B2 [Laidlaw, Alice.] "Story for Sunday." Folio [Univ. of Western Ontario], 5, No. I (Dec. 1950), [4-8].
B3 [Laidlaw, Alice.] "The Widower." Folio {Univ. of Western Ontario], 5, No. 2 (April 1951), [7-11].
B4 "A Basket of Strawberries." Mafair, Nove. 1953, pp. 32-33, 78-79, 80, 82.
B5 [Munro, Alice Laidlaw.] "The Idyllic Summer." The Canadian Forum, Aug. 1954, pp. 106-07, 109-10.
B6 [Laidlaw, Alice.] "At the Other Place." The Canadian Forum, Sept. 1955, pp. 151-33.
B7 "The Edge of Town." Queen's Quarterly, 62 (Autumn 1955), 368-80.
B8 [Munro, Alice Laidlaw.] "How Could I Do That?". Chatelaine, March 1956, pp. 16-17, 65, 66, 67, 68-69, 70. Rpt. trans. ("Hui Huide Jag?") in Vecko Revyn, July 1956, pp. 10, 26, 29, 33.
B9 [Laidlaw, Alice.] "The Time of Death." The Canadian Forum, June 1956, pp. 63-66. DHS (revised); DO (trans.-"L'heure de la morte").
B10 "Good-By, Myra." Chatelaine, July 1956, pp. 16-17, 55, 56, 57, 58. DHS (revised - "Day of the Butterfly"); DO (trans.-"Le jour du papillon").
B11 "Thanks for the Ride." The Tamarack Review, No. 2 (Winter 1957), pp. 25-37. DHS; DO (trans.-"Merci pour la balade").
B12 "The Dangerous One." Chatelaine, July, 1957, pp. 48-51.
B13 "Sunday Afternoon." The Canadian Forum, Sept. 1957, pp. 127-30. DHS; DO (trans.- "Un dimanche apres-midi").
B14 "The Peace of Utrecht." The Tamarack Review, No. 15 (Spring 1960), pp. 5-21. DHS (revised); DO (trans.--"Le traite d'Utrecht").
B15 "The Trip to the Coast." In Ten for Wednesday Night. Ed. Robert Weaver. Toronto: McClelland and Stewart, 1961, pp. 74-92. DHS (revised--"A Trip to the Coast"); DO (trans.- "Voyage a la cote").
B16 "Dance of the Happy Shades." The Montrealer, Feb. 196I, pp. 22-26. DHS; DO (trans. -- "La Danse des ombres").
B17 "An Ounce of Cure." The Montrealer, May 1961, pp. 26-30. Rpt. in McCall's, Oct. 1973, pp. 92-93, 130, 132-34. DHS; DO (trans.- "Un remede radical").
B18 "The Office." The Montrealer, Sept. 1962, pp. 18-23. DHS (revised); DO (trans.--"Le bureau").
B19 "Boys and Girls." The Montrealer, Dec. 1964, pp. 25-34. Rpt. trans. Karl Heinrich ("Jungen and Madchen") in Die weite Reise: Kanadische Erzahlungen und Kurzgeschichten. Ed. Ernst Bartsch. Berlin: Verlag Volk und Welt, 1974, pp. 284-303. DHS ("Boys and Girls"); DO (trans. -"Garcons et filles").
B20 "Red Dress--1946." The Montrealer, May 1965, pp. 28-34. Rpt. ("Red Dress") in McCall's, March 1973, pp. 66-67, 138-41, 146. DHS ("Red Dress--1946"); DO (trans.--"La robe rouge--1946").
B21 "Postcard." The Tamarack Review, No. 47 (Spring 1968), pp. 22-31, 33-39. DHS; DO (trans. --"La carte postale").
B22 "Material." The Tamarack Review, No. 61 (Nov. 1973), pp. 7-25. SIBM.
B23 "Privilege." The Tamarack Review, No. 61 (Nov. 1973), pp. 14-28. Rpt. (revised--"Honeyman's Granddaughter") in Ms., Oct. 1978, pp. 56-57, 75-76, 79. WDYT (revised- "Privilege"); Pqtp (trans.- "Privilege"); B:GFR (trans.- "Unverletzbarkeit"); Tig. (trans.--"Privilegium").
B24 "Home." In New Canadian Stories: 74. Ed. and introd. David Helwig and Joan Harcourt. Ottawa: Oberon, 1974, pp. 133-53.
B25 "How I Met My Husband." McCall's, Feb. 1974, pp. 84-85, 123-27. SIBM (revised).
B26 "Tell Me Yes or No." Chatelaine, March 1974, pp. 34-35, 54, 56-60, 62. SIBM.
B27 "Forgiveness in Families." McCall's, April 1974, pp. 92-93, 138, 140, 142, 144, 146. SIBM.
B28 "Royal Beatings." The New Yorker, 14 March 1977, pp. 36-44. WDYT (revised); Pqtp (trans. -"Royales raclees"); B:GFR (trans.--"Eine furstliche Abreibung"); Tig. (trans.- "Kongelig juling").
B29 "The Beggar Maid." The New Yorker, 27 June 1977, pp. 31, 35-41, 44-47. WDYT (revised); Pqtp (trans. --"La jeune mendiante"); B:GFR (trans.--"Das Bettlermadchen"); Tig. (trans. -- "Tiggerpiken").
B30 "Providence." Redbook, Aug. 1977, pp. 98-99, 158-59, 160-63. WDYT (revised); Pqtp (trans.); B:GFR (trans.- "Vorsehung"); Tig. (trans.--"Skjebne").
B31 "Accident." Toronto Life, Nov. 1977, pp. 61, 87-90, 92-95, 149-50, 153-56, 159-60, 162-65, 167, 169-73. MJ.
B32 "Mischief." Viva, April 1978, pp. 99-109. WDYT(revised); Pqtp (trans.--"Betises"); B:GFR (trans.--"Pech"); Tig. (trans.--"Rampastreker").
B33 "Wild Swans." Toronto Life, April 1978, pp. 52-53, 124-25. WDYT; Pqtp (trans.- "Cygnes sauvages"); B:GFR (trans.--"Wilde Schwane"); Tig. (trans.--"Ville svaner").
B34 "Half a Grapefruit" Redbook, May 1978, pp. 132-33,176,178, 180, 182, 183. WDYT (revised); Pqtp (trans.- "Un demi-pamplemousse"); B:GFR (trans.--"Eine halbe Grapefruit"); Tig. (trans.- "En halv grapefukt").
B35 "The Moons of Jupiter." The New Yorker, 22 May 1978, pp. 32-39. MJ (revised).
B36 "Spelling" [excerpt]. Weekend Magazine, 17 June 1978, pp. 24, 26-27. WDYT (revised, expanded); Pqtp (trans.--"Le don d'epeler"); B:GFR (trans.--"Buchstabieren"); Tig. (trans.--"Staving").
B37 "Characters." Ploughshares, 4, No. 3 ([Summer] 1978), 72-82.
B38 "Emily." Viva, Aug. 1978, pp. 99-105. WDYT (revised- "Simon's Luck"); Pqtp (trans.- "La chance de Simon"); B:GFR (trans.- "Simons Gluck"); Tig. (trans.--"Simons Rykketegn").
B39 "Connection." Chatelaine, Nov. 1978, pp. 66-67, 97-98, 101, 104, 106. MJ (revised- "Chaddelys and Flemings: I. Connection").
B40 "A Better Place than Home." In The Newcomers: Inhabiting a New Land. Ed. Charles E. Israel. Toronto: McClelland and Stewart, 1979, pp. 113-24.
B41 "The Stone in the Field." Saturday Night, April 1979, pp. 40-45. MJ (revised--"Chaddeleys and Flemings: 2. The Stone in the Field").
B42 "Dulse." The New Yorker, 21 July 1980, pp. 30-39. MJ (revised).
B43 "Wood." The New Yorker, 24 Nov. 1980, pp. 46-54.
B44 "The Turkey Season." The New Yorker, 29 Dec. 1980, pp. 36-44. MJ (revised).
B45 "Prue." The New Yorker, 30 March 1981, pp. 34-35- MJ.
B46 "Labor Day Dinner." The New Yorker, 28 Sept. 1981, pp. 47-56, 59-60, 65-66, 70, 75-76. MJ.
B47 "Mrs Cross and Mrs Kidd." The Tamarack Review, Nos. 83-84 (Winter 1982), pp. 5-24. MJ ("Mrs. Cross and Mrs. Kidd").
B48 "The Ferguson Girls Must Never Marry." Grand Street [New York], I, No. 3 (Spring 1982), pp. 27-64.
B49 "Visitors." The Atlantic Monthly, April 1982, pp. 90, 91-96. MJ.
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Source: Thacker, Robert (compiler); . Part 1: Works By Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 355-364 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP1.
Item Number: ABCMA05AMP1000005004002001
Record: 206- Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Reprinted anthology contributions: A selection
- Other Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 1: Works By Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 355-364)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP1
p. 361-362 (2 p.) - Links:
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Source: Part 1: Works By Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 355-364
Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Reprinted anthology contributions: A selection
Thacker, Robert (compiler)
B50 "The Time of Death." In Canadian Short Stories. Ed. Robert Weaver. Toronto: Oxford Univ. Press, 1960, pp. 398-410.
B51 "The Peace of Utrecht." In The First Five Years: Selections from The Tamarack Review. Ed. and preface Robert Weaver. Introd. Robert Fulford. Toronto: Oxford Univ. Press, 1962, pp. 149-64.
B52 "The Dance of the Happy Shades" and "The Peace of Utrecht." In Canadian Short Stories. 2nd ser. Ed. Robert Weaver. Toronto: Oxford Univ. Press, 1968, pp. 259-84, 285-300.
B53 "Boys and Girls" and "An Ounce of Cure." In Sixteen by Twelve: Short Stories by Canadian Writers. Ed. and introd. John Metcalf. Toronto: Ryerson, 1970, pp. 103-24.
B54 "Walker Brothers Cowboy." In Canadian Writing Today. Ed. Mordecai Richler. Harmondsworth, Eng.: Penguin, 1970, pp. 105-20.
B55 "The Office." In Great Canadian Short Stories: An Anthology. Ed. and introd. Alec Lucas. Laurel. New York: Dell, 1971, pp. 263-75.
B56 "The Colonel's Hash Resettled," "Dance of the Happy Shades," and "Images." In The Narrative Voice: Stories and Reflections by Canadian Authors. Ed. John Metcalf. Toronto: McGraw-Hill Ryerson, 1972, pp. 161-71, 171-80, 181-83.
B57 "The Time of Death." In Contemporary Voices: The Short Story in Canada. Ed. Donald Stephens Scarborough, Ont.: Prentice-Hall, 1972, pp. 128-34.
B58 "Dance of the Happy Shades." In The Canadian Century: English-Canadian Writing since Confederation. [Vol. II of The Book of Canadian Prose.] Ed. and introd. A. J. M. Smith. Toronto: Gage, 1973, pp. 489-50.
B59 "A Trip to the Coast." In The Evolution of Canadian Literature in English, 1945-1970. Ed. Paul Denham. Toronto: Holt, Rinehart and Winston, 1973, pp. 201-l1.
B60 "Walker Brothers Cowboy." In The Oxford Anthology of Canadian Literature. Ed. Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 348-60.
B61 "The Shining Houses." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 520-26.
B62 "Sunday Afternoon." In Selections from Major Canadian Writers Ed. Desmond Pacey. Toronto: McGraw-Hill Ryerson, 1974, pp. 244-49.
B63 "Walker Brothers Cowboy." In Stories from Ontario. Ed. Germaine Warkentin. Toronto: Macmillan, 1974, pp. 156-71.
B64 "The Found Boat." In The Role of Women in Canadian Literature. Ed. Elizabeth McCullough. Toronto: Macmillan, 1975, pp. 70-81.
B65 "How I Met My Husband." In Modern Canadian Stories. Ed. John Stevens. New York: Bantam, 1975, pp. 1-20.
B66 "The Photographer." In The Artist in Canadian Literature. Ed. Lionel Wilson. Toronto: Macmillan, 1976, pp. 96-104. LGW ("Epilogue: The Photographer").
B67 "Dance of the Happy Shades." In Here & Now: Best Canadian Stories. Ed. and introd. Clark Blaise and John Metcalf. Ottawa: Oberon, 1977, pp. 85-95.
B68 "Dance of the Happy Shades." In Toronto Short Stories. Ed. Morris Wolfe and Douglas Daymond. Toronto: Doubleday, 1977, pp. 260-72.
B69 "How I Met My Husband," "Images," "Material," and "The Peace of Utrecht." In Personal Fictions: Stories by Munro, Wiebe, Thomas, and Blaise. Ed. Michael Ondaatje. Toronto: Oxford Univ. Press, 1977, pp. 9-71.
B70 "The Beggar Maid." In 78: Best Canadian Stories. Ed. John Metcalf and Clark Blaise. Ottawa: Oberon, 1978, pp. 93-110.
B71 "The Office" and "On Writing 'The Office.'" In Transitions II." Short Fiction: A Source Book of Canadian Literature. Foreword Geoff Hancock. Vancouver: CommCept, 1978, pp. 241-52, 259, 261-62.
B72 "Spelling [abridged]." In The Best American Short Stories 1979. Ed. Joyce Carol Oates with Shannon Ravenel. Introd. Joyce Carol Oates. Boston: Houghton Mifflin, 1979, pp. 150-56.
B73 "The Stone in the Field." In 80: Best Canadian Stories. Ed. Clark Blaise and John Metcalf. Ottawa: Oberon, 1980, pp. 125-31.
B74 "Royal Beatings." In The Norton Anthology of Short Fiction. Ed. R. V. Cassill. 2nd ed. New York: Norton, 1981, pp. 1041-59.
B75 "Wood." In 81: Best Canadian Stories. Ed. John Metcalf and Leon Rooke. Ottawa: Oberon, 1981, pp. 93-110.
B76 "The Found Boat." In Introduction to Fictzon. Ed. Jack David and Robert Lecker. Toronto: Holt, Rinehart and Winston, 1982, pp. 366-70.
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Source: Thacker, Robert (compiler); . Part 1: Works By Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 355-364 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP1.
Item Number: ABCMA05AMP1000005004002002
Record: 207- Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Articles
- Other Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 1: Works By Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 355-364)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP1
p. 362-363 (2 p.) - Links:
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Source: Part 1: Works By Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 355-364
Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Articles
Thacker, Robert (compiler)
B77 "Remember Roger Mortimer: Dickens' Childs [sic] History of England Remembered." The Montrealer, Feb. 1962, pp. 34-37.
B78 "Author's Commentary." In Sixteen by Twelve: Short Stories by Canadian Writers. Ed. John Metcalf. Toronto: Ryerson, 1970, pp. 125-26.
B79 "The Colonel's Hash Resettled." In The Narrative Voice: Stories and Reflections by Canadian Authors. Ed. John Metcalf. Toronto: McGraw-Hill Ryerson, 1972, pp. 181-83. Rpt. (excerpts--"The Authors on Their Writing") in Personal Fictions: Stories by Munro, Wiebe, Thomas, and Blaise. Ed. Michael Ondaatje. Toronto: Oxford Univ. Press, 1977, pp. 224-25.
B80 Tribute to Robert Weaver. In "Bob Weaver Has Lots of Friends." Performing Arts Canada, 10, No. 3 (Fall 1973), 13.
B81 "Everything Here Is Touchable and Mysterious." Weekend Magazine [Toronto Star], 11 May 1974, [p.33].
B82 "On Writing 'The Office.' "In Transitions II: Short Fiction: A Source Book of Canadian Literature. Ed. Edward Peck. Vancouver: CommCept, 1978, pp. 259, 261-62.
B83 "Working for a Living." Grand Street [New York], I, No. I (Fall 1981), 9-37.
B84 "Through the Jade Curtain." In Chinada: Memoirs of the Gang of Seven. Ed. and preface Gary Geddes. Montreal: Quadrant, 1982, pp. 51-55.
B85 "What Is Real?". The Canadian Forum, Sept. 1982, pp. 5, 36. Rpt. in Making It New: Contemporary Canadian Stories. Ed. John Metcalf. Toronto: Methuen, 1982, pp. 223-26.
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Source: Thacker, Robert (compiler); . Part 1: Works By Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 355-364 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP1.
Item Number: ABCMA05AMP1000005004002003
Record: 208- Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Letters
- Other Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 1: Works By Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 355-364)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP1
p. 363 (1 p.) - Links:
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Source: Part 1: Works By Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 355-364
Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Letters
Thacker, Robert (compiler)
B86 "An Open Letter." Jubilee, No. I (1974), pp. 5-7.
B87 Letter. The London Free Press, 4 March 1975, p. 6.
B88 "On Stuewe and Censorship." Books in Canada, Dec. 1978, pp. 39-40.
B89 "Writers Compiled Handbook." The London Free Press, 24 Jan. 1979, p. A6.
B90 Letter. Today, 27 Feb. 1982, p. 2.
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Source: Thacker, Robert (compiler); . Part 1: Works By Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 355-364 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP1.
Item Number: ABCMA05AMP1000005004002004
Record: 209- Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Television scripts
- Other Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 1: Works By Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 355-364)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP1
p. 363 (1 p.) - Links:
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Source: Part 1: Works By Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 355-364
Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Television scripts
Thacker, Robert (compiler)
B91 "A Trip to the Coast." Dir. Paul Lynch. Prod. David Peddie. To See Ourselves. CBC TV, 5 Dec. 1973. (16 mm.; colour; 30 min.) The cast is David Hughes, Cynthia Dale, and Nan Stewart. See B15.
B92 "How I Met My Husband." Dir. Herb Roland. The Play's the Thing. Prod. George Jonas. Exec. prod. Fletcher Markle. CBC TV, 10 Jan. 1974. Printed in The Play's the Thing: Four Original Television Dramas. Ed. Tony Gifford. Toronto: Macmillan, 1976, pp. 15-34. See B25. The cast for the televlsion production is Lynne Griffin, George R. Robertson, Angela Clare, Arch McDonell, Kay Hawtrey, Jackie Burroughs, Mel Tuck, and Nonnie Griffin as voice-over narrator.
B93 "1847: The Irish." The Newcomers/Les arrivants. Dir. Eric Till. CBC TV, 8 Jan. 1978. Rebroadcast The Newcomers/Les arrivants, CBC TV, 26 March 1980. (16 mm.; colour; 59 min.) See B40. The cast is Linda Goranson, David MacIlwraith, and Ken James.
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Source: Thacker, Robert (compiler); . Part 1: Works By Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 355-364 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP1.
Item Number: ABCMA05AMP1000005004002005
Record: 210- Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Audio-visual material
- Other Title:
- Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 1: Works By Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 355-364)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP1
p. 363-364 (2 p.) - Links:
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Source: Part 1: Works By Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 355-364
Part 1 Works by Alice Munro; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, articles, and letters), television scripts, and audio-visual material; Audio-visual material
Thacker, Robert (compiler)
B94 "The Yellow Afternoon." Narr. Dorothy Davies. Anthology. CBC Radio, 22 Feb. 1955. (25 min.)
B95 "The Shining Houses." Narr. Joy Coghill. CBC Wednesday Night. CBC Radio, 6 June 1962. (30 min.) See A2.
B96 "Images." Narr. Aileen Seaton. CBC Tuesday Night. CBC Radio, 27 Sept. 1968. (25 min.) See A2.
B97 "Forgiveness in Families." [Phono disc.] Canadian Short Stories Series. Montreal: CBC International Service, E11012-13, 1973. (28 min.) See B27.
B98 "Forgiveness in Families." Narr. Aileen Seaton. Anthology. CBC Radio, 10 March 1973. (30 min.) See B27.
B99 Lives of Girls and Women [excerpts]. CBC Monday Evening. CBC Radio, 18 Feb. 1974. (60 min.) Munro intersperses the excerpts with summarized contents and talks about the work with Elizabeth Komisar. See AI.
B100 "The Found Boat." Narr. Aileen Seaton. Anthology. CBC Radio, 6 April 1974. Rebroadcast (excerpts) Sunday Supplement. CBC Radio, 18 Aug. 1974. (13 min., 30 sec.) See A3 and C134.
B101 "Providence." [Sound recording.] Montreal: CBC International Service, M-12610-15, I977. (174 min. ) See B30.
B102 Contributor. "The Untold Story of Canadian Writing Abroad." Prepared William French. Anthology. Host Harry Mannis. CBC Radio, 25 Sept. 1982. Poet Irving Layton, short story writer Alice Munro, novelists Margaret Atwood and Morley Callaghan, critic David Staines of the University of Ottawa, and Naim Kattan of The Canada Council are questioned about the international acceptance of Canada's best writers.
B103 Lives of Girls and Women [excerpt]. Narr. Clare Coulter. Sunday Morning. CBC Radio, 17 Oct. 1982. See C143.
B104 The Moons of Jupiter [excerpt]. Narr. Clare Coulter. Sunday Morning. CBC Radio, 17 Oct. 1982. See C143.
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Source: Thacker, Robert (compiler); . Part 1: Works By Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 355-364 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP1.
Item Number: ABCMA05AMP1000005004002006
Record: 211- Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Criticism
- Other Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP1
p. 234-235 (2 p.) - Links:
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Source: Part 1: Works By Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 233-244
Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Criticism
Struthers, J.R. (Tim) (compiler)
A17 "The Architecture of Experience (Studies in the Relation of Cosmology to Poetry in the Seventeenth and Early Eighteenth Centuries)." M.A. Thesis Toronto 1952. III pp.
A18 "Theories of Imagination in English Thinkers 1650-1790." Diss. Toronto 1955. 421 pp.
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Source: Struthers, J.R. (Tim) (compiler); . Part 1: Works By Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 233-244 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP1.
Item Number: ABCMA05HHP1000005003001005
Record: 212- Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Manuscripts
- Other Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP1
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Source: Part 1: Works By Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 233-244
Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Manuscripts
Struthers, J.R. (Tim) (compiler)
A19 Hugh Hood Archive
All manuscripts and archival material to the end of 1981 are located at The University of Calgary Library. As of 31 Dec. 1983, these were not yet catalogued. Included in the collection are Will R. Bird's review of White Figure, White Ground and Ernest Buckler's review of Around the Mountain: Scenes from Montreal Life.
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Source: Struthers, J.R. (Tim) (compiler); . Part 1: Works By Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 233-244 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP1.
Item Number: ABCMA05HHP1000005003001006
Record: 213- Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Non-fiction
- Other Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP1
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Source: Part 1: Works By Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 233-244
Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Non-fiction
Struthers, J.R. (Tim) (compiler)
A14 Strength Down Centre: the Jean Beliveau Story. Scarborough, Ont.: Prentice-Hall, 1970. 192 pp. Puissance au centre: Jean Beliveau. Trans. Louis Remillard. Scarborough, Ont.: Prentice-Hall, 1970. 192 pp.
[underbar]. Montreal: L'Homme, 1972. 192 pp.
A15 The Governor's Bridge is Closed. Ottawa: Oberon, 1973. 144 pp. Includes "The Absolute Infant," "Circuses and Bread" (B75), "Enough or Too Much" (B76), "Get Yourself a Reputation, Baby!" (B79), "The Governor's Bridge is Closed" (B88), "Independence? Blague!" (B83), "Innuit and Catawba" (B89), "Moral Imagination: Canadian Thing"(B80), "Murray Laufer and the Art of Scenic Design" (B94), "The Ontology of Super-Realism" (B91), "The Pleasures of Hockey" (B84), "Surviving with Magazines," and "Swinging Deep: Splendeurs et Profondeurs de Quebec."
A16 Scoring: The Art of Hockey. Illus. Seymour Segal. Ottawa: Oberon, 1979. N. pag.
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Source: Struthers, J.R. (Tim) (compiler); . Part 1: Works By Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 233-244 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP1.
Item Number: ABCMA05HHP1000005003001004
Record: 214- Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Novels
- Other Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP1
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Source: Part 1: Works By Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 233-244
Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Novels
Struthers, J.R. (Tim) (compiler)
[underbar]
A1 White Figure, White Ground. New York: E. P. Dutton, 1964. 251 pp.
[underbar]. Toronto: Ryerson, 1964. 251 pp.
[underbar]. Pocket Book Edition. Richmond Hill, Ont.: Simon & Schuster, 1973. 246 pp.
A2 The Camera Always Lies. New York: Harcourt, Brace & World, 1967. 246 pp.
[underbar]. New Canadian Library, No. 160. Toronto: McClelland and Stewart, [1982]. 246 pp.
A3 A Game of Touch. Don Mils, Ont.: Longman, 1970. 188 pp. Re-issued with a new dust jacket by ECW PRESS in 1980.
A4 You Cant Get There From Here. Ottawa: Oberon, 1972. 202 pp.
A5 The Swing in the Garden. Pt. I of The New Age/Le nouveau siecle. Ottawa: Oberon, 1975. 210 pp.
[underbar]. Downsview, Ont.: ECw, 1980. 210 pp.
A6 A New Athens. Pt. II of The New Age/Le nouveau siecle. Ottawa: Oberon, 1977. 226 pp.
[underbar]. Downsview, Ont.: ECW, 1981. 226 pp.
A7 Reservoir Ravine. Pt. III of The New Age/Le nouveau siecle. Ottawa: Oberon, 1979. 238 pp.
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Source: Struthers, J.R. (Tim) (compiler); . Part 1: Works By Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 233-244 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP1.
Item Number: ABCMA05HHP1000005003001001
Record: 215- Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Short stories
- Other Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP1
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Source: Part 1: Works By Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 233-244
Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Short stories
Struthers, J.R. (Tim) (compiler)
A8 Flying a Red Kite. Toronto: Ryerson, 1962. 239 pp.
[underbar]. Ryerson Paperbacks. Toronto: Ryerson, 1967. 239 pp. Includes "After the Sirens" (B2), "The End of It" (B11), "Fallings from Us, Vanishings"(B9), "Flying a Red Kite" (B8), "He Just Adores Her!" (Bs), "Nobody's Going Anywhere!", "O Happy Melodist!", "Recollections of the Works Department" (B6), "Silver Bugles, Cymbals, golden Silks, .... Three Halves of a House" (B3), and "Where the Myth Touches Us" (B12).
A9 The Fruit Man, The Meat Man & The Manager. Ottawa: Oberon, 1971. 207 pp. Includes "Brother Andre, Pere Lamarche and My Grandmother Eugenie Blagdon" (B30), "Cura Pastoralis" (B13), "The Dog Explosion," "The Fruit Man, the Meat Man and the Manager" (B32), "Getting to Williamstown" (B20), "The Good Tenor Man" (B18), "Harley Talking" (B38), "The Holy Man" (B23), "One Owner, Low Mileage" (B33), "Paradise Retained?" (B31), "Places I've Never Been" (B35), "The Singapore Hotel" (B37), "A Solitary Ewe" (B21), "The Tolstoy Pitch" (B34), and "Whos Paying for This Call."
A10 Dark Glasses. Ottawa: Oberon, 1976. 143 pp. Includes "An Allegory of Man's Fate" (B47), "Boots" (B39), "The Chess Match" (B10), "Dark Glasses" (B45), "Going Out as a Ghost" (B49), "The Hole" (B42), "Incendiaries" (B48), "A Near Miss" (B43), "The Pitcher" (B16), "Socks" (B41), "Thanksgiving: Between Junetown and Camtown" (B51), and "Worst Thing Ever" (B36).
A11 Selected Stories. Ottawa: Oberon, 1978. 232 pp. Includes "An Allegory of Man's Fate" (B47), "Dark Glasses" (B45), "The End of It" (B11), "Failings from Us, Vanishings" (B9), "The Fruit Man, the Meat Man and the Manager" (B320, "Going Out as a Ghost" (B49), "A Green Child" (A13), "Light Shining Out of Darkness" (B24), "Looking Down from Above" (B28), "Nobody's Going Anywhere" (A8), "Places I've Never Been" (B35), "The River behind Things" (A13), "Silver Bugles, Cymbals, Golden Silks" (A8), "Thanksgiving: Between Junetown and Caintown" (B51), "The Tolstoy Pitch" (B34), and "Whos Paying for This Call" (A9).
A12 None Genuine Wtthout This Signature. Downsview, Ont.: ECW, 1980. 189 pp.
[underbar]. Introd. Keith Garebian. Downsview, Ont.: ECW, 1980. xiv, 189 pp. Includes "Breaking Off," "A Childhood Incident" (B50), "Crosby" (B55), "Doubles" (B56), "February Mama" (B57), "Ghosts at Jarry" (B54), "God Has Manifested Himself unto Us as Canadian Tire" (B52), "Gone Three Days," "The Good Listener," "New Country," "None Genuine Without This Signature, or, Peaches in the Bathtub," and "The Woodcutter's Third Son."
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Source: Struthers, J.R. (Tim) (compiler); . Part 1: Works By Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 233-244 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP1.
Item Number: ABCMA05HHP1000005003001002
Record: 216- Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Sketches
- Other Title:
- Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP1
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Source: Part 1: Works By Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 233-244
Part 1 Works by Hugh Hood; Books (novels, short stories, sketches, non-fiction, and criticism) and manuscripts; Sketches
Struthers, J.R. (Tim) (compiler)
A13 Around the Mountain: Scenes from Montreal Life. Toronto: Peter Martin, 1967. 175 pp. Includes "Around Theatres" (B25), "Bicultural Angela" (B26), "Le Grand Demanagement," "A Green Child," "Light Shining Out of Darkness" (B24), "Looking Down from Above" (B28), "One Way North and South" (B27), "Predictions of Ice," "The River behind Things," The Sportive Centre of Saint Vincent de Paul," "Starting Again on Sherbrooke Street" (B29), and "The Village Inside."
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Source: Struthers, J.R. (Tim) (compiler); . Part 1: Works By Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 233-244 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP1.
Item Number: ABCMA05HHP1000005003001003
Record: 217- Title:
- Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Short stories and sketches
- Other Title:
- Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP1
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Source: Part 1: Works By Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 233-244
Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Short stories and sketches
Struthers, J.R. (Tim) (compiler)
Note: When an item is reprinted in one of Hood's books, this fact is noted in the entry through one of the following abbreviations:
Around the Mountain: Scenes from
Montreal Life ............. AM
The Camera Always Lies ........... CAL
Dark Glasses .................. DG
Flying a Red Kite .................. FRK
The Fruit Man, The Meat Man &
The Manager ............. FMMM
A Game of Touch ................. GT
The Governor's Bridge is Closed ...... GBiC
A New Athens ................ NA
None Genuine Without This
Signature .............. NGWT
Puissance au centre: Jean Beliveau ....... Pac
Reservoir Ravine ........... RR
Scoring: The Art of Hockey .......... S:AH
Selected Stories ............ SS
Strength Down Centre: the Jean Beliveau
Story ................ SDC
The Swing in the Garden .......... SG
White Figure, White Ground ....... WFWG
You Cant Get There From Here ..... YCGT
B1 "The Isolation Booth." The Tamarack Review, No. 9 (Fall 1958), pp. 5-12.
B2 "After the Sirens." Esquire, Aug. 1960, pp. 83-85. FRK.
B3 "Three Halves of a House." The Tamarack Review, No. 20 (Summer 1961), pp. 5-26. FRK.
B4 "I'm Not Desperate!". Exchange, I, No. I (Nov. 1961), 64-66.
B5 "He Just Adores Her!". The Montrealer, Jan. 1962, pp. 24-30. FRK.
B6 "Recollections of the Works Department." The Tamarack Review, No. 22 (Winter 1962), pp. 5-35. FRK.
B7 "The Changeling." The Canadian Forum, March 1962, pp. 274-80.
B8 "Flying a Red Kite." Prism, 3, No. 3 (Spring 1962), 4-13. Rpt. trans. Peter Kleinhempel ("Der rote Drachen") in Die weite Reise: Kanadische Erzahlungen and Kurzgeschichten. Ed. Ernst Bartsch. Berlin: Verlag Volk und Welt, 1974, pp. 135-49. FRK ("Flying a Red Kite").
B9 "Fallings from Us, Vanishings." The Montrealer, May 1962, pp. 22-26. FRK; SS.
B10 "The Chess Match." The Fiddlehead, No. 53 (Summer 1962), pp. 38-47. DG.
B11 "The End of It." The Tamarack Review, No. 24 (Summer 1962), pp. 3-22. FRK; SS.
B12 "Where the Myth Touches Us." Queen's Quarterly, 69 (Summer 1962), 211-36. FRK.
B13 "Cura Pastoralis." Contact [Sausalito, Cal.], 3, No. 3 (Aug. 1962), 56-61. FMMM.
B14 "The Ingenue I Should Have Kissed but Didn't." The Tamarack Review, No. 25 (Fall 1962), pp. 3-17.
B15 "A Season of Calm Weather." Queen's Quarterly, 70 (Spring 1963), 76-93.
B16 "The Pitcher." The Canadian Forum, April 1963, pp. 12-15. DG.
B17 "The Perfect Night." Story, 36, No. 4 (July-Aug. 1963), 101-07.
B18 "The Good Tenor Man." Encore, No. 3 (Oct. 1963), pp. 4-5, 15, 16-17. Rpt. in The Colorado Quarterly, 12 (Winter 1964), 274-87. FMMM. First publication includes epigraph by Hood.
B19 "The Fable of the Ant and the Grasshopper." Yes, No. 13 (Dec. 1964), n. pag.
B20 "Getting to Williamstown." The Tamarack Review, No. 34 (Winter 1965), pp. 3-14. Rpt. trans. Walter Pache ("Unterwegs nach Williamstown") in Akzente [Munchen, W. Ger.], 23 (Juni 1976), 230-40. FMMM ("Getting to Wllliamstown").
B21 "A Solitary Ewe." The Literary Review, 8 (Summer 1965), 468-83. FMMM.
B22 "Educating Mary." The Montrealer, Sept. 1965, pp. 24-31.
B23 "The Holy Man." The Tamarack Review, No. 37 (Fall i965), pp. 3-18. FMMM.
B24 "Montreal Evening, with Gypsies: Light Shining Out of Darkness." Saturday Night, April 1966, pp. 30-32. AM ("Light Shining Out of Darkness"); SS.
B25 "Around Theatres." Parallel, I, No. 3 (July-Aug. 1966), 47-50. AM. First publication includes three illustrations by Seymour Segal.
B26 "Scenes from Montreal Life. III: Bicultural Angela." The Canadian Forum, Aug. 1966, pp. 206-08. AM ("Bicultural Angela").
B27 "One Way North and South." The Tamarack Review, No. 41 (Fall 1966), pp. 82.-94. AM.
B28 "Scenes from Montreal Life (VI: Looking Down from Above)." Prism International, 6, No. 2 (Fall 1966), 4-23. Rpt. ("Appendix: The Text of 'Looking Down from Above'") in On the Line: Readings in the Short Fiction of Clark Blaise, John Metcalf, and Hugh Hood. By Robert Lecker. Downsview, Ont.: ECW, 1982, pp. 121-30. AM ("Looking Down from Above"); SS.
B29 "A Sherhrooke Street Man." Parallel, I, No. 5 (Nov.-Dec. 1966), 50-54. AM ("Starting Again on Sherbrooke Street"). First publication includes one illustration by Seymour Segal.
B30 "Brother Andre, Pere Lamarche and My Grandmother Eugenie Blagdon." Alphabet, No. 13 (June 1967), pp. 34-49. FMMM.
B31 "It's a Small World: Paradise Retained?". The Tamarack Review, No. 46 (Winter 1968), pp. 201-08. FMMM ("Paradise Retained? "). Third in a set of three Expo pieces. See B75 and B76.
B32 "The Fruit Man, the Meat Man and the Manager." The Canadian Forum, Aug. 1968, pp. 204-06. FMMM; SS.
B33 "D'Occasion, comme neuve." Trans. Hubert Aquin. Liberte, II, No. 2 (mars-avril 1969), 127-42. FMMM ("One Owner, Low Mileage").
B34 "The Tolstoy Pitch." The Flddlehead, No. 79 (March-April 1969), pp. 44-59. FMMM; SS.
B35 "Places I've Never Been." In Vision 2020: Fifty Canadians in Search of a Future. Ed. Stephen Clarkson. Edmonton: Hurtig, 1970, pp. 103-24. FMMM; SS.
B36 "Worst Thing Ever." Intercourse, Nos. 12-13 (Jan. 1970), pp. 13-18. DG.
B37 "The Singapore Hotel." The Fiddlehead, No. 84 (March-April 1970), pp. 9-26. FMMM.
B38 "Harley Talking." Quarry, 20, No. 3 (Fall 1972), 16-26. FMMM.
B39 "Boots." In The Narrative Voice: Short Stories and Reflections by Canadian Authors. Ed. John Metcalf. Toronto: McGraw-Hill Ryerson, 1972, pp. 90-94. DG.
B40 "The Granite Club." Journal of Canadian Fiction, I, No. I (Winter 1972), 10-14.
B41 "Socks." In The Narrative Votce: Short Stories and Reflecttons by Canadian Authors. Ed. John Metcalf. Toronto: McGraw-Hill Ryerson, 1972, pp. 85-89. DG.
B42 "The Hole." The Canadian Fiction Magazine, No. 7 (Summer 1972), pp. 20-25. DG.
B43 "A Near Miss." The Fiddlehead, No. 94 (Summer 1972), pp. 3-15. DG.
B44 "Suites and Single Rooms, with Bath." Queen's Quarterly, 79 (Fall 1972), 366-73.
B45 "Dark Glasses." In 73: New Canadian Stories. Ed. David Helwig and Joan Harcourt. Ottawa: Oberon, 1973, pp. 110-19. DG; SS.
B46 "Friends and Relations." Seven Persons Repository, No. 6 (Spring 1973), pp. I-9.
B47 "An Allegory of Man's Fate." Journal of Canadian Fiction, 3, No. I (Winter 1974), 50-54. DG; SS.
B48 "Incendiaries." Grain, 2, No. I ([1974]), 32-37. DG.
B49 "Going Out as a Ghost." The Fiddlehead, No. 101 (Spring 1974), pp. 61-73. DG; SS.
B50 "A Childhood Incident." Salt, No. 12 (Winter 1974-75), pp. 12-16. NGWT.
B51 "Thanksgiving: Between Junetown and Caintown." The Canadian Fiction Magazine, No. 18 (Summer 1975), pp. 16-25. DG; SS.
B52 "God Has Manifested Himself unto Us as Canadian Tire." In 76." New Canadian Stories. Ed. Joan Harcourt and John Metcalf. Ottawa: Oberon, 1976, pp. 18-29. Rpt. in The Whig-Standard Magazine [The Whig-Standard] [Kingston], 16 Aug. 1980, pp. 8-9. NGWT.
B53 "The Winner." Jubilee, No. 3 ([Spring 1976]), pp. 4-21.
B54 "Ghosts at Jarry." In 78: Best Canadian Stories. Ed. John Metcalf and Clark Blaise. Ottawa: Oberon, 1978, pp. 43-57. NGWT.
B55 "Crosby." Saturday Night, Jan.-Feb. 1978, pp. 44-45, 47, 49-5I, 53. NGWT.
B56 "Doubles." The Fiddlehead, No. 118 (Summer 1978), pp. 5-22. NGWT.
B57 "February Mama." Descant [Toronto], Nos. 30-31 (1980-81), pp. 17-29. NGWT.
B58 "August Nights." The Canadian Forum, Aug. 1981, pp. 20-25.
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
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Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Excerpts
Struthers, J.R. (Tim) (compiler)
B59 "The Man Who Made It All the Way Back" [abridged]. Maclean's, 8 Aug. 1964, pp. 22, 40-41, 43, 44. WFWG (expanded--"Toronto": Ch. iv).
B60 "A Game of Touch" [excerpt]. The Tamarack Review, Nos. 50-51 (Second Quarter 1969), pp. 73-83. GT (Ch. xvi).
B61 "The High Art of Playing Hockey" [abridged]. Maclean's, Jan. 1970, pp. 48-50, 52-54, 56. Rpt. trans. Louis Remillard ("Beliveau fonce sur moi. Je me dis: 'Tu vas te falre tuer!'" [abridged]) in Le Magazine Maclean, jan. 1970, pp. 16-22. SDC (expanded -- "The Style is the Man"); Pac (expanded--"Le style est l'homme meme"). Besides being abridged, the version published in Le Magazine Maclean contains some differences in phrasing from Louis Remlllard's translation in Puissance au centre: Jean Beliveau.
B62 "Beliveau: 'Une partie, ca dure douze heures'" [abridged]. Trans. Louis Remillard. Le Magazine Maclean, fev. 1970, pp. 19-21, 22-23, 25. Pac (expanded--"Sous la grande horloge" ). Besides being abridged, the version published in Le Magazine Maclean contains some differences in phrasing from Louis Remillard's translation in Puissance au centre: Jean Beliveau.
B63 "Le batisseur du Colisee" [excerpts]. Trans. Louis Remillard. Montreal-Matin, 21 fev. 1970, Sec. Montreal-Matin Sports week-end, p. 8s. Rpt. (English original -- "Canadiens' Beliveau Was Raised on Diet of Hockey") in The Sunday Express [Montreal], 22 Feb. 1970, p. 40. Pac (expanded- "Le batisseur du Colisee"); SDC (expanded -- "Building the Coliseum").
B64 "Beliveau signe son premier contrat avec les Canadiens" [excerpts]. Trans. Louis Remillard. Montreal-Matin, 23 fev. 1970, p. 52. Rpt. (English original- "The Beliveau Series: Frank Selke 'Opened the Vault' and Big Jean Signed") in The Sunday Express [Montreal], 1 March 1970, p. 40. Pac (expanded--"Le batisseur du Colisee"); SDC (expanded--"Building the Coliseum").
B65 "Jamals de dissension chez les Canadiens" [excerpts]. Trans. Louis Remillard. Montreal-Matin, 24 fev. 1970, p. 47. Rpt. (English original -- "'The Beliveau Series: Harmony a Tradition with Great Canadiens Teams") in The Sunday Express [Montreal], 8 March 1970, p. 40. Pac (expanded- "La famille"); SDC (expanded" -- The Family").
B66 "Avant chaque partie le jouer de hockey doit se preparer mentallement" [excerpts]. Trans. Louis Remillard. Montreal-Matin, 25 fev. 1970, p. 52. Rpt. ( English original -- "The Beliveau Series: Jean Still Gets 'the Butterflies' on Day of Game") in The Sunday Express [Montreal], 15 March 1970, p. 40. Pac (expanded- "Sous la grande horloge"); SDC (expanded--"Under the Clock").
B67 "Douze heures dans la 'marmite a pression'" [excerpts]. Trans. Louis Remillard. Montreal-Matin, 26 fev. 1970, p. 57. Rpt. (English original--"The Beliveau Series") in The Sunday Express [Montreal], 22 March 1970, n. pag. Pac (expanded --"Sous la grande horloge"); SDC (expanded -- "Under the Clock").
B68 "Endurance et force physique, gages de succes au hockey" [excerpts]. Trans. Louis Remillard. Montreal-Matin, 27 fev. 1970, p. 59- Rpt. (English original- "The Beliveau Series") in The Sunday Express [Montreal], 29 March 1970, n. pag. Pac (expanded -- "Des pouvoirs extraordinaires"); SDC (expanded--"More than Ordinary Powers").
B69 "You Cant Get There From Here" [excerpts]. Journal of Canadtan Fiction, I, No. 2 (Spring 1972.), 12-18. YCGT ("On the Surface" [Ch. viii] and "Underground" [Ch. xviii]). Excerpts accompanied by explanatory comment by Hood.
B70 "The Swing in the Garden" [excerpt]. The Tamarack Review, No. 66 (June 1975), pp. 5-64. SG (Ch. ii).
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- Author(s):
- Struthers, J.R. (Tim) (compiler)
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Poems
Struthers, J.R. (Tim) (compiler)
B71 "Q.E.D." Yes, No. 11 (1962), n. pag.
B72 "The Person at the End of the Hall." The Canadian Forum, Oct. 1964, p. 167.
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Source: Struthers, J.R. (Tim) (compiler); . Part 1: Works By Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 233-244 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP1.
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- Author(s):
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Play
Struthers, J.R. (Tim) (compiler)
B73 "Friends and Relations." In The Play's the Thing: Four Original Television Dramas. Ed. Tony Gifford. Toronto: Macmillan, 1976, pp. 47-75. Rewritten version of unproduced television play of the same title, first composed in May 1962.(See B142.)
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- Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Essays
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- Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material
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- Author(s):
- Struthers, J.R. (Tim) (compiler)
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- Bibliography
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
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Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Essays
Struthers, J.R. (Tim) (compiler)
B74 "The Shock of Disbelief: Images of Violence and the Grotesque in Modern Literature." In The McAuley Lectures, 1967. Versions of the Sweet New Style: Dante, Rousseau and Modernism. West Hartford, Conn.: Saint Joseph College, 1967, pp. 35-55.
B75 "It's a Small World: Circuses and Bread." The Tamarack Review, No. 44 (Summer 1967), pp. 70-82. GBiC (revised--"Circuses and Bread"). First in a set of three Expo pieces, See B31 and B76.
B76 "It's a Small World: Enough, or, Too Much." The Tamarack Review, No. 45 (Fall 1967), pp. 93-105. GBiC (revised--"Enough or Too Much"). Second in a set of three Expo pieces. See B31 and B75.
B77 "The Unchanging Pleasures of the Game Itself." The Star Weekly Magazine [Toronto Daily Star], 21 Oct. 1967, pp. 23, 26, 28, 30-31. For a letter by Hood commenting on this essay see B108.
B78 "A Good Man's Great Decision." The Star Weekly Magazine [Toronto Daily Star], 9 Dec. 1967, pp. 20-29. Rpt. ("The Cardinal's Decision") in Catholic Digest, April 1968, pp. 25-30.
B79 "The International Symposium on the Short Story: Part One. Canada." The Kenyon Review, 30 (1968), 469-77. GBiC (revised- "Get Yourself a Reputation, Baby!").
B80 "Where the Promise Comes From." The Star Weekly Magazine [Toronto Daily Star], 1 June 1968, pp. 36-40. GBiC (revised- "Moral Imagination: Canadian Thing"). Rewritten version of unpublished essay "Millions of Cousins."
B81 "Double Vision: Encore terre des hommes." The Canadian Forum, Aug. 1968, pp. 108-09. For a comment on Hood's essay see Courtney Bond, Letter, The Canadian Forum, Oct. 1968, p. 163.
B82 "Callaghan (Morley)." Encyclopaedia Universalis, 1969.
B83 "Independance? Blague!". In Notes for a Native Land. Ed. Andy Wainwright. Ottawa: Oberon, 1969, pp. 27-31. GBiC (revised).
B84 "The Pleasures of Hockey." The Canadian Magazine [Toronto Daily Star], 11 Jan. 1969, pp. 14-17. GBiC (revised).
B85 "Why Write at All?". In Sixteen by Twelve: Short Stories by Canadian Writers. Ed. John Metcalf. Toronto: Ryerson, 1970, pp. 86-87.
B86 "Writing 'Getting to Williamstown.'" In Sixteen by Twelve: Short Stories by Canadian Writers. Ed. John Metcalf. Toronto: Ryerson, 1970, p. 87.
B87 "'Revolution Is Not Worth One Drop of Human Blood.'" Toronto Daily Star, 17 Oct. 1970, Sec. i, p. 9.
B88 "The Ravines and Bridges of Hugh Hood's Toronto." The Globe Magazine [The Globe and Mail], 28 Nov. 1970, pp. 1-4, 6-7. GBiC (revised--"The Governor's Bridge is Closed").
B89 "Innuit and Catawba: Ontario Extracted." In Travel Ontario. Toronto: new, 1971, pp. 16-25. GBiC (revised--"Innuit and Catawba").
B90 "Leacock (Stephen Butler) 1869-1944." Encyclopaedia Universalis, 1971.
B91 "Sober Colouring: The Ontology of Super-Realism." Canadian Literature, No. 49 (Summer 1971), pp. 28-34. GBiC (revised--"The Ontology of Super-Realism").
B92 "The Etcheverry-Military-Athletic Complex." Maclean's, Sept. 1971, pp. 28-29, 52, 55, 58, 6o, 63. Rpt. trans. ("Le complexe militaro-athletique") in Le Magazine Maclean, sept. 1971, pp. 16-19, 22.
B93 [underbar], and Al Purdy. "Central Canada: A Vacationer's View of Ontario and Quebec." Reader's Digest [American ed.], April 1972, n. pag. Advertising pamphlet for the Canadian Government Travel Bureau. Contains a debased version of "Haloed Darkness: Splendeurs et Profondeurs de Quebec," the rewritten and unpublished version of "Swinging Deep: Splendeurs et Profondeurs de Quebec" (A15).
B94 "Murray Laufer and the Art of Scenic Design." artscanada, Nos. 174-175 (Dec.-Jan. 1972-73), pp. 59-64. GBiC (revised). First publication includes eleven photographs of work by Murray Laufer.
B95 Afterword. In A North American Education: A Book of Short Fiction. By Clark Blaise. Toronto: Doubleday, 1973, n. pag.
B96 Introduction. In The White Magnet: Poems; Stories; A Play. By Marc Plourde. Montreal: DC, 1973, n. pag.
B97 "Preface: Person's People." In Growing Up in Minby. By Lloyd H. Person. Saskatoon: Western Producer Book Service, 1974, n. pag.
B98 Afterword. In Two Stories: The Drubbing of Nesterenko & First Loves. By Hanford Woods. Montreal: Alithea, 1975, n. pag.
B99 Afterword. In Girl in Gingham. By John Metcalf. Ottawa: Oberon, 1978, n. pag.
B100 "Before the Flood." In Hugh Hood's Work in Progress [Essays on Canadian Writing, Nos. 13-14 (Winter-Spring 1978-79)], pp. 5-20. Rpt. in Before the Flood: Our Exagmination round His Factification for Incamination of Hugh Hood's Work in Progress. Ed. J. R. (Tim) Struthers. [Perspectives on Canadian Literature, No. I.] Downsview, Ont.: ECW, 1979, pp. 5-20. Read in Hugh Hood Symposium, York Univ., Downsview, Ont. 18 Oct. 1979.
B101 "Sam Tata: Photographer." Canadian Fiction Magazme, No. 29 (1979), pp. 11-17.
B102 "Great Quebec Won't Be Navel-Gazing." The Globe and Mail, 17 Feb. 1979, "The Mermaid Inn," Sec. I, p. 6. Abridged version of unpublished essay "Great Quebec?". For a comment on Hood's essay see Michael Greenstein, Letter, The Globe and Mail, 23 Feb. 1979, Sec. i, p. 6.
B103 "Les Canadiens: A Fan's Joyful Notes." Chatelaine, Sept. 1979, pp. 44, 162-64.
B104 "Christmas Remembered." Chatelaine, Dec. 1979, PP. 43, 80, 82.
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Source: Struthers, J.R. (Tim) (compiler); . Part 1: Works By Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 233-244 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP1.
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Record: 222- Title:
- Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Letters
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- Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Letters
Struthers, J.R. (Tim) (compiler)
B105 Letter to Naim Kattan. In "Critique francaise et auteur anglais." Le Devoir, 12 dec. 1964, Sec. Arts/Litterature-Spectacles, p. 15.
B106 Letter. The Tamarack Review, No. 38 (Winter 1966), pp. 111-12.
B107 Letter. The Montreal Star, 28 Dec. 1967, Sec. I, p. 8.
B108 Letter. The Star Weekly Magazine [Toronto Daily Star], 13 April 1968, p. 42. See B77. For a comment on Hood's letter see Ken McKenzie, "Passing the Puck," The Hockey News, 6 April 1968, p. 4.
B109 Letter [excerpts]. In "Author's Comment." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, p. 512.
B110 Letter to David Latham. Essays on Canadian Writing, No. 9 (Winter 1977-78), pp. 139-41.
B111 [underbar], and John Mills. "Hugh Hood and John Mills in Epistolary Conversation." The Fiddlehead, No. 116 (Winter 1978), pp. 136-37, 14o-41, 145-46.
B112 Letter. The Globe and Mail, 29 March 1978, Sec. I, p. 6.
B113 Letter. The City [Sunday Star] [Toronto Star], 25 Nov. 1979, p. 6.
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Source: Struthers, J.R. (Tim) (compiler); . Part 1: Works By Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 233-244 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP1.
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- Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Reprinted anthology contributions: A selection
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- Annotated bibliography of Canada's major authors, no. 5
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- Struthers, J.R. (Tim) (compiler)
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- Bibliography
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
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Source: Part 1: Works By Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 233-244
Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Reprinted anthology contributions: A selection
Struthers, J.R. (Tim) (compiler)
B114 "Three Halves of a House." In The First Five Years: A Selection from The Tamarack Rewew. Ed. Robert Weaver. Toronto: Oxford Univ. Press, 1962Z, pp. 262-82.
B115 "Flying a Red Kite." In Modern Canadian Stories. Ed. Giose Rimanelli and Roberto Ruberto. Toronto: Ryerson, 1966, pp. 302-13.
B116 "Getting to Williamstown." In The Best American Short Stories 1966. Ed. Martha Foley and David Burnett. Boston: Houghton Mifflin, 1966, pp. 113-24.
B117 "The End of It." In Canadian Winter's Tales. Ed. Norman Levine. Toronto: Macmillan, 1968, pp. 54-78.
B118 "Flying a Red Kite" and "Getting to Williamstown." In Canadian Short Stories. 2nd ser. Ed. Robert Weaver. Toronto: Oxford Univ. Press, 1968, pp. 199-230.
B119 "Predictions of Ice." In Predictions of Ice. Ed. Edwin R. Procunier. A Book Society SEARCHLIGHT, No. 214. Agincourt, Ont. : Book Society of Canada, 1968, pp. 1-5. Hood's story is followed by sections of study aids: "The Author," "Notes," "Questions," "For Further Reading," and a supplementary two-page "Commentary" (C13) on the story by the editor.
B120 "Getting to Williamstown." In Sixteen by Twelve: Short Stories by Canadian Writers. Ed. John Metcalf. Toronto: Ryerson, 1970, pp. 76-85. Hood's story is followed by a section of "Author's Commentary" containing two comments (B85, B86) by Hood.
B121 "Moral Imagination: Canadian Thing." In Canada: A Guide to the Peaceable Kingdom. Ed. William Kilbourn. Toronto: Macmillan, 1970, pp. 29-35.
B122 "Recollections of the Toronto Works Department" [excerpt]. In Canadian Writing Today. Ed. Mordecai Richler. Harmondsworth, Eng : Penguin, 1970, pp. 67-80. FRK ("Recollections of the Works Department").
B123 "Flying a Red Kite." In The Canadian Short Story. Ed. Tony Kilgallin. Toronto: Holt, Rinehart and Winston, 1971, pp. 22-32. Hood's story is preceded by a three-page commentary (C23) by the editor.
B124 "Three Halves of a House." In Great Canadian Short Stories. An Anthology. Ed. Alec Lucas. Laurel. New York: Dell, 1971, pp. 241-62.
B125 "Sober Colouring: The Ontology of Super-Realism." In The Narrative Voice: Short Stories and Reflecttons by Canadian Authors. Ed. John Metcalf. Toronto: McGraw-Hall Ryerson, 1972, pp. 95-101. Hood's essay accompanies a pair of his stories, "Socks" (B41) and "Boots" (B39).
B126 "Flying a Red Kite." In The Evolution of Canadian Literature in English 1945-1970. Ed. Paul Denham. Toronto: Holt, Rinehart and Winston, 1973, pp. 192-99.
B127 "Recollections of the Works Department" [excerpt]. In The Oxford Anthology of Canadin Literature. Ed. Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 215-24. 2nd ed. 1981, pp. 186-95.
B128 "Author's Comment," "The Hole," and "Whos Paying for This Call." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 500-12. "Author's Comment" contains excerpts from Hood's "Sober Colouring: The Ontology of Super-Realism" (B91) and excerpts from a letter by Hood to one of the editors (Bl09).
B129 "The Dog Explosion." In The Treasury of Great Canadian Humour. Ed. Alan Walker. Toronto: McGraw-Hill Ryerson, 1974, pp. 379-86.
B130 "Flying a Red Kite." In Selections from Major Canadian Writers: Poetry and Creative Prose in English. Ed. Desmond Pacey. Toronto: McGraw-Hill Ryerson, 1974, pp. 224-31.
B131 "Where the Myth Touches Us." In Stories from Ontario. Ed. Germame Warkentin. Toronto: Macmillan, 1974, pp. 215-40.
B132 "Flying a Red Kite." In Modern Canadian Stories. Ed. John Stevens. New York: Bantam, 1975, pp. 195-207.
B133 "Friends and Relations" [story]. In The Play's the Thing: Four Original Televiston Dramas. Ed. Tony Gifford. Toronto: Macmillan, 1976, pp. 37-46. Hood's story is followed by the rewritten version (B73) of hls unproduced television play of the same title.
B134 "Recollections of the Works Department." In Toronto Short Stories. Ed. Morris Wolfe and Douglas Daymond. Toronto: Doubleday, 1977, pp. 16-49.
B135 "The Village Inside." In Here & Now: Best Canadian Stories. Ed. Clark Blaise and John Metcalf. Ottawa: Oberon, 1977, pp. 61-69.
B136 "The Fruit Man, the Meat Man and the Manager." In Literature in Canada. Ed. Douglas Daymond and Leslie Monkman. Toronto: Gage, 1978. Vol. II, 448-55.
B137 "Three Halves of a House." In The Best Modern Canadian Short Stories. Ed. Ivon Owen and Morris Wolfe. Edmonton: Hurtig, 1978, pp. 195-211.
B138 "After the Sirens." In Other Canadas: An Anthology of Science Fiction and Fantasy. Ed. John Robert Colombo. Toronto: McGraw-Hill Ryerson, 1979, pp. 151-60.
B139 "The Pitcher." In Great Canadian Sports Stories. Ed. George Bowering. Ottawa: Oberon, 1979, pp. 20-33.
B140 "Three Halves of a House." In The Penguin Book of Canadian Short Stones. Ed. Wayne Grady. Harmondsworth, Eng.: Penguin, 1980, pp. 259-78.
B141 "Sober Colouring: The Ontology of SuperRealism." In Canadian Novelists and the Novel. Ed. Douglas Daymond and Leslie Monkman. Ottawa: Borealis, 1981, pp. 233-38.
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Source: Struthers, J.R. (Tim) (compiler); . Part 1: Works By Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 233-244 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP1.
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Record: 224- Title:
- Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Audio-visual material
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- Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
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- Bibliography
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 1: Works By Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 233-244)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 1: Works By Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 233-244
Part 1 Works by Hugh Hood; Contributions to periodicals and books (short stories and sketches, excerpts, poems, play, essays, letters, and reprinted anthology contributions: A selection) and audio-visual material; Audio-visual material
Struthers, J.R. (Tim) (compiler)
B142 Friends and Relations. Dir. Rudi Dorn. Prod. Fletcher Markle and George Jonas. The Play's the Thing. CBC TV, 7 Feb. 1974. The cast includes Maxine Miller, Tom Harvey, Frank Perry, Steven Markle, Candace O'Connor, David Hughes, Jack Mather, Barrie Baldero, Jan Chamberlain, Sean McCann, and Deanne Read. (See B73.)
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Source: Struthers, J.R. (Tim) (compiler); . Part 1: Works By Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 233-244 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP1.
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- Part 2 Works on Hugh Hood; Books, articles and sections of books, theses and dissertations, interviews and profiles, audio-visual material, dramatic adaptations, and awards and honours; Articles and sections of books
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- Part 2 Works on Hugh Hood; Books, articles and sections of books, theses and dissertations, interviews and profiles, audio-visual material, dramatic adaptations, and awards and honours
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- Struthers, J.R. (Tim) (compiler)
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 2: Works On Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP2
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Books, articles and sections of books, theses and dissertations, interviews and profiles, audio-visual material, dramatic adaptations, and awards and honours; Articles and sections of books
Struthers, J.R. (Tim) (compiler)
C3 G[ingrich]., A[rnold]. "PUBLISHER'S PAGE: Editors and Writers--The Bitter and the Sweet." Esquire, Aug. 1960, p. 6. Gingrich speaks of the appearance of "After the Sirens"--Hood's second published story--in the present issue of Esquire. He notes "the quality of excitement in Hugh Hood's writing that got our wind up when we first saw a sample of it in the pages of Tamarack." Gingrich quotes six paragraphs from a letter by Hood relating the story of his "protracted courtship of Esquire."
C4 Corrington, John William. "An American Look at Canada's Governor-General's Award Books: The Prose Award." Evidence, No. 8 ([Spring 1964]), pp. 37-40, 41. Flying a Red Kite lacks the Southern regionalism which nurtured Corrington, and it "might well have been written. . .by any one of the grim minor reputations" from Esquire or The Partisan Review. Although Hood possesses an "almost uncanny ability to handle the height and width of Canadian middle-class life," this too may be a limitation, whether by nature or by choice.
C5 Pacey, Desmond. "The Writer and His Public 1920-1960." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, p. 494. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. II, 20. Pacey mentions Hood among a number of new novelists and short story writers of the fifties and early sixties whose fiction presented "a new sophistication both of style and subject-matter."
C6 Klinck, Carl F. "Annual Bibliography of Commonwealth Literature 1964: Canada." The Journal of Commonwealth Literature, No. i (Sept. 1965), pp. 29, 32, 38. Klinck comments that "Hugh Hood, noted for his short stories, has written a novel." The article also provides selected bibliographical information on Hood for the year 1964.
C7 "Hugh Hood (1928- )." In Canadian Writers/ Ecrivains canadiens: A Biographical Dictionary. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Rev. and enl. ed. Toronto: Ryerson, 1966, p. 74. Rev. ed. 1967, p. 74. The editors briefly discuss Hood's background, first two books, and works in progress as of 1966.
C8 Rimanelli, Glose. Introduction. In Modern Canadian Stories. Ed. Giose Rimanelli and Roberto Ruberto. Toronto: Ryerson, 1966, p. xxvii. Rimanelli groups Hood, Alice Munro, John Metcalf, and Daphne Buckle [Marlatt], although they "are writers of different range and potential." He remarks that Flying a Red Kite "contains a few very good pieces of writing" and predicts that Hood "will make his way."
C9 Kattan, Naim. "Les ecrivains canadiens-anglais et la culture canadienne-francaise." Le Devoir, 31 mars 1966, Sec. Supplement Litteraire, p. 38. Rpt. trans. Joyce Marshall ("Montreal and French-Canadian Culture: What They Mean to English-Canadian Novelists") in The Tamarack Review, No. 40 (Summer 1966), pp. 40-42. Kattan inquires into "the present frame of mind of [English-Canadian] novelists who live or have lived in Montreal." Kattan admires "the evident good will" of writers like MacLennan and Hood. "And yet," he states, "one senses that they are slightly on the margin of--if not quite outside --all that so profoundly agitates Quebec." "English-Canadian writers," Kattan refers, "want Montreal to be a French city, but at the same time they want it to permit the flowering of a Canadian English culture which would also make their work more complex and, in consequence, richer." He regards this as an uncertain possibility. For Hood's comments see C140.
C10 Klinck, Carl F. "Annual Bibliography of Commonwealth Literature 1965: Canada." The Journal of Commonwealth Literature, No. 2 (Dec. 1966), p. 48. Selected bibliographical information on Hood for the year 1965.
C11 Story, Norah. "Fiction in English." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, pp. 263, 268. Story calls Flying a Red Kite "promising" and praises Hood's "sophisticated use of the Canadian background" in that book and White Figure, White Ground.
C12 Brown, Mary M. "Annual Bibliography of Commonwealth Literature 1966: Canada." The Journal of Commonwealth Literature, No. 4 (Dec. 1967), p. 52. Selected bibliographical information on Hood for the year 1966.
C13 Procunier, Edwin R. Commentary: "'Predictlons of Ice"/Hugh Hood. Agincourt, Ont.: Book Society of Canada, 1968, n. pag. "Predictions of Ice" is "a familiar essay divided internally into three very distinct yet unified parts, each with its own purpose, its own logic, its own moral." Procunier stresses the cleverness of the gradual and unified structure of the work, identifies the elements from the spy story or mystery story genre which Hood uses in the third part, and suggests how the "essay" could serve as a model in creative writing classes.
C14 Dawe, Alan. Profile of a Nation: Canadian Themes and Styles. Toronto: Macmillan, 1969, pp. 8, 19, 131. Dawe emphasizes the importance of distinguishing "between real and fictitious events" in different sorts of narrative, although he observes that one sort is not necessarily superior to another. In the case of "Bicultural Angela," while we cannot "assume that we are being told about things that actually took place, . . . it is possible that events 'something like' those in Mr. Hood's short story might actually have happened." Dawe cites "Bicultural Angela" among "items that have touches of the ironical tone." He describes it as "a formal short story" in which "The plot details have been carefully selected in order to develop the conflict that lies at the heart of this narrative"; but the story also "has implications that extend beyond the personal difficulties faced by Angela during her Montreal romance."
C15 Peterson, Leonard. Commentary: The Red Kite/Morten Parker. Agincourt, Ont.: Book Society of Canada, 1969, n. pag. Peterson analyses the text of Morten Parker's film The Red Kite (C206) and compares it with Hood's story "Flying a Red Kite," from which it was adapted. "The incidents in the story are slight," he states, "but the mood and overtones give the story strength and impact and meaning beyond the everyday triviality of the material." Significant differences exist between Hood's story and Parker's film treatment of it. "Hood jumps around in time and place, and cavorts with imagery in a way that is impossible for the film maker holding to a naturalistic style."
C16 Brown, Mary M. "Annual Bibliography of Commonwealth Literature 1967: Canada." The Journal of Commonwealth Literature, No. 6 (Jan. 1969), pp. 47, 50-51, 56. Brown remarks that "The real hero of [Around the Mountain: Scenes from Montreal Life] is the city itself and Hood has captured its people and moods in the same imaginative prose which distinguished his first, excellent collection Flying a Red Kite." The article also provides selected bibliographical information on Hood for the year 1967.
C17 Stephens, Donald. "The Short Story In English." Canadian Literature, No. 41 (Summer 1969), pp. 126, 128-29, 130. Rpt. in The Sixties: Canadian Writers and Writing of the Decade. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, pp. 126, 128-29, 130. Stephens discusses the radical change in the short story in Canada beginning in the late 1950s and continuing through the 1960s, "a rapid change from a story whose focus was on plot and the Canadian setting, to one of character synthesis and compelling philosophies." Stephens refers to a much greater sophistication in the view of human nature shown by the writers of the sixties, the departure of traces of sentimentality, and increased precision and astringency in their language. Hood, along with Hugh Garner, Margaret Laurence, and Audrey Thomas, is chosen to exemplify this trend.
C18 Weaver, Robert, and Mary Burnett. "Annual Bibliography of Commonwealth Literature 1968: Canada." The Journal of Commonwealth Literature, No. 8 (Dec. 1969), pp. 95, 101. Selected bibliographical information on Hood for the year 1968.
C19 Woodcock, George. Canada and the Canadians. Toronto: Oxford Univ. Press, 1970, pp. 316-18. Hood's "Moral Imagination: Canadian Thing" is a "brilliant and barely recognized essay" which discusses "the way in which Canada's peculiar history led it out of the main currents of life in nineteenth-century Europe and America, so that it avoided both romanticism and its political equivalents, Bonapartism--the cult of the hero--and the complementary cult of the masses."
C20 Parker, George L. "A Brief Annotated Bibliography of Available Titles In Canadian Fiction, Poetry, and Related Background Material." Twentieth Century Literature, 16 (July 1970), 221. Hood's novel White Figure, White Ground is discussed along with twenty-eight other titles under the heading "Fiction." Alex MacDonald successfully resolves his identity crisis "as a son, husband, and artist." White Figure, White Ground also offers "pertinent observations on the marriage of an English and French Canadian couple."
C21 New, William H. "Annual Bibliography of Commonwealth Literature 1969: Canada." The Journal of Commonwealth Literature, No. 10 (Dec. 1970) p. 62. Selected bibliographical information on Hood for the year 1969.
C22 Duffy, Dennis. "Grace: The Novels of Hugh Hood." Canadian Literature, No. 47 (Winter 1971), pp. 10-25. Rpt. in The Canadian Novel in the Twentieth Century: Essays from Canadian Literature. Ed. and introd. George Woodcock. New Canadian Library, No. 115. Toronto: McClelland and Stewart, 1975, pp. 242-57. Duffy considers Hood's early work and claims that Hood's fiction exhibits the "Balzacian gift" for seeing and magnifying people "through the technical details of their jobs." In sum, Hood is "the steadiest viewer of ourselves, in Canada, now"; yet "his sure purchase on the present. . . is wholly compatible with his ampler vision of a process of grace and redemption illuminating that present." Duffy characterizes Hood's second novel, The Camera Always Lies, "as a novel of society" and Hood's first novel, White Figure, White Ground, "as one of grace." In The Camera Always Lies, the heroine, Rose LeClair, "is too simple and observed too superficially to bear the weight of the social themes she embodies"; in her, "the ordinary becomes the banal." White Figure, White Ground, however, shows Hood's dexterity in depicting the character of Alexander MacDonald -- his predicaments and his illuminations--and in intertwining "the personality of a man with his artistic production." A Game of Touch, Hood's third novel, combines the abilities "for capturing society" and "for showing individuals" which had been displayed in isolation in The Camera Always Lies and White Figure, White Ground respectively.
C23 Kilgallin, Tony. The Canadian Short Story. Toronto: Holt, Rinehart and Winston, 1971, pp. 6, 7, 12, 19-21. Kilgallin describes the style of Morley Callaghan and says that Hood owes much to it. Killgallin has included "Flying a Red Kite" in this anthology "as an example of the standard story reaching towards symbolic narrative."
C24 Reference Division, McPherson Library, Univ. of Victoria, B.C., comp. "Hood, Hugh John Blagdon 1928- ." In Creative Canada: A Biographical Dictionary of Twentieth-Century Creative and Performing Artists. Vol. 1. Toronto: Univ. of Toronto Press, 1971, 156. Biographical and bibliographical information to i968.
C25 Sutherland, Ronald. Second Image: Comparative Studies in Quebec-Canadian Literature. Don Mills, Ont.: new, 1971, pp. 70-71, 125, 175. Sutherland mentions the characters of Alexander MacDonald and Ellen in White Figure, White Ground among examples of "The tendency in Canadian literature. . .to lean in the direction of impotence and incapacity to act, or an impetuous and foolish action entirely devoid of satisfaction." He cites Hood as "an obvious example of an English-speaking writer who, "in his sketches, stories and novels" is being drawn increasingly into the mainstream of Canadian literature, to which the work of Hugh MacLennan has given "definition and momentum" and which Sutherland defines as literature showing "some awareness of fundamental aspects and attitudes of both language groups in Canada."
C26 Burnett, Mary. "Annual Bibliography of Commonwealth Literature 1970: Canada." The Journal of Commonwealth Literature, 6, No. 2 (Dec. 1971), 51. Selected bibliographical information on Hood for the year 1970.
C27 Blaise, Clark. "To Begin, to Begin." In The Narrative Voice: Short Stories and Reflections by Canadian Authors. Ed. and introd. John Metcalf. Toronto: McGraw-Hill Ryerson, 1972, pp. 22, 23. Blaise discusses the opening sentence of Hood's "Fallings from Us, Vanishings," which through language, syntax, and association "hints so strongly at disappointment." The opening description presents "a lover doomed to loneliness, yet a lover who seeks it, despite appearances. Nowhere, however, is it stated."
C28 Bruce, Harry. "Grub Street?". In The Narrative Voice: Short Stories and Reflections by Canadian Authors. Ed. and introd. John Metcalf. Toronto: McGraw-Hill Ryerson, 1972, pp. 271-72, 273. Bruce advocates considering the New Journalism as a form of literary art. He refers to some of his own first-person writing for the Toronto Daily Star and compares it with the approach to writing and some of the subject matter in Hood's Flying a Red Kite.
C29 Metcalf, John. "Hugh Hood (b. 1928)." In Kaleidoscope: Canadian Stories. Ed. John Metcalf. Photographs John de Visser. Toronto: Van Nostrand Reinhold, 1972, p. 134. Biographical and selected bibliographical information to 1971. Flying a Red Kite "is one of the cornerstones of Canadian short story writing." "While it is in no sense dogmatic, Hood's work reflects his strong religious faith."
C30 Thompson, Kent. "Hood, Hugh (John Blagdon)." In Contemporary Novelists. Ed. James Vinson. London: St. James, 1972., pp. 624-26. 2nd ed., 1976, pp. 661-63. This article contains biographical and bibliographical information, including selected criticism, to 1972 (revised to 1975), a comment by Hood, and a critical introduction to Hood's writing. Thompson argues that an examination of Hood's concern with Canadian identity, the complicated ease of Hood's style, his experimentation with prose forms "in such a quiet manner that the experiments do not call attention to themselves," Hood's morality, and his Christianity, demonstrate how Hood's work "defies easy generalization." Hood, Thompson remarks, seems to be accepting quite consciously the challenges of two older Canadian writers, Hugh MacLennan and Morley Callaghan, respectively, "to explore the impact of the specifically Canadian context (its two cultures, for example) on the individual" and "to explore the significance and dimensions of religion" as it pertains to "the moral choice of identity."
C31 Rollins, Douglas. "The Montreal Storytellers." Journal of Canadian Fiction, 1, No. 2 (Spring 1972), 5-6. Rollins gives an account of the formation in 1970 of "The Montreal Storytellers Fiction Performance Group," which included John Metcalf, Clark Blaise, Hugh Hood, Ray Smith, and Ray Fraser. Rollins describes the object of the group and its style of presentation, but insists that "The Montreal Storytellers do not constitute a school of writing: their work reflects five individual personalities with different preoccupations and different styles."
C32 New, William H. "A Checklist of Major Individual Short Story Collections." World Literature Written in English, II, No. I (April 1972) 11-12. New includes Hood's Around the Mountain: Scenes from Montreal Life and The Fruit Man, The Meat Man & The Manager.
C33 New, William H. "The Canadian Short Story: Introduction." World Literature Written in English, II, No. I (April 1972), 7, 8. New mentions Dave Godfrey and Hood as examples of those contemporary short story writers who, "accepting the interpenetration of the artistic and the moral imagination, have striven to release their language from formal confinement. . . as a way of uttering the limited freedoms and constant flux of the present moment."
C34 Stephens, Donald. "The Recent English Short Story in Canada and Its Themes." World Literature Written in English, IX, No. i (April 1972), 51. Audrey Thomas, Hugh Hood, David Helwig, and Mordecai Rlchler are short story writers who "aim at painting a picture of life as they see it first hand. Without polishing it until it becomes unreal, and by leaving people and episodes in their actual surroundings, they give their stories complete authenticity."
C35 Thompson, Kent. "The Canadian Short Story in English and the Little Magazines: 1971." World Literature Written in English, II, No. I (April 1972), 18, 19, 21-22, 23, 24. "Hugh Hood is probably the master of the short story in Canada"; "he has developed his own styles" and "has challenged the form -- but so subtly that few readers are entirely aware of it." Nevertheless, Hood is said to regard the Canadian literary tradition as "not that of developing technique, but that of developing moral concern." In his own work, Hood himself "accepts the challenges of the older Canadian writer Hugh MacLennan to write of the specifically Canadian problems--as he has done in his first and third novels -- and he accepts also the challenge of Morley Callaghan to deal with moral problems." The dimensions of Hood's work are vast--even in a single short story, as seen in "Three Halves of a House." In addition, Thompson argues that Hood and Margaret Laurence are the only Canadian writers, as of 1970, who "have attempted to use the short-story form as a tool toward the writing of a complete, whole book."
C36 New, William H. "Annual Bibliography of Commonwealth Literature 1971: Canada." The Journal of Commonwealth Literature, 7, No. 2 (Dec. 1972), 61, 69, 78. After commenting on the recurrence of a "concern for cultural freedom" in Canadian fiction published during 1971, New argues that "The interest in the morality of such commitment possibly underlies the reason for the success of short story writers like Austin Clarke, Beth Harvor, Hugh Hood, and Norman Levine, and for the renewed interest in the work of Frederick Philip Grove." The article also provides selected bibliographical information on Hood for the year 1971.
C37 Bibliographic Services Division, Provincial Library, Regina, Sask., comp. Canadian Fiction: A Bibliography. Regina: Bibliographic Services Division, Provincial Library, 1973, pp. 13, 29, 30, 33. This slim bibliography cites Hood's Around the Mountain: Scenes from Montreal Life, The Fruit Man, The Meat Man & The Manager, A Game of Touch, and White Figure, White Ground, and it includes annotations for Hood's The Camera Always Lies and You Cant Get There From Here. In The Camera Always Lies, "When Rose Leclair, a film star, attempts suicide she finds her life and the events that led to her unhappiness now passing in front of her." You Cant Get There From Here 'is set in the Third World and played out against the backdrop of the Cold War."
C38 Denham, Paul, ed. and introd. The Evolution of Canadian Literature in English 1945-1970. Toronto: Holt, Rinehart and Winston, 1973, pp. 10, 11, 191, 286. Denham mentions Hood along with other authors as having "continued to explore the possibilities of the short story." He cites Hood's depiction of Montreal among other examples of "a kind of urban regionalism in fiction in which the specific social milieu of a particular city or section of a city is rendered." Denham contrasts the characters of Hood's short stories, which "tend to be from the urban middle class," with Hugh Garner's; he adds that Flood "is not concerned . . . with society so much as with delineating states of individual consciousness." Denham briefly analyses "Flying a Red Kite," the story of Hood's contained in this anthology.
C39 Garner, Hugh. One Damn Thing After Another. Toronto: McGraw-Hill Ryerson, 1973, pp. 255-56, 264. In this autobiography, Garner refers to Hood on two occasions. One reference is to a group of public readings by three fiction writers, including Douglas LePan, Hood, and Garner, as well as three poets, at the Royal Ontario Museum in 1972. In comparison with LePan, Hood "was much better in his delivery," although "when he finished reading one short story and began another I still thought he was reading more of the first one." Garner's second reference is to White Figure, White Ground, which, to his knowledge, represents "the first time the four-letter word (beginning with F) was used in a Canadian novel." Ironically, "The publisher was The Ryerson Press, a subsidiary of the United Church of Canada."
C40 Gnarowski, Michael. "Hood, Hugh John Blagdon, 1928- ." In his A Concise Bibliography of English-Canadian Literature. Toronto: McClelland and Stewart, 1973, pp. 53-54. 2nd ed., 1978, pp. 60-61. Bibliographical information to 1971, including selected reviews and articles. The second edition contains bibliographical information to 1975, including selected reviews and articles, but erroneously lists You Cant Get There From Here as a short story collection.
C41 MacCulloch, Clare. The Neglected Genre: The Short Story in Canada. Guelph, Ont.: Alive, 1973, pp. 18, 26, 70. MacCulloch mentions Hood briefly as one of a limited number of writers who have published collections of stories in Canada, as one of several "more 'urban' short story writers," and as one of many "significant writers among the current hosts."
C42 Smith, A. J. M. Introduction. In The Canadian Century: English-Canadian Writing since Confederation. Ed. A. J. M. Smith [Vol. II of The Book of Canadian Prose]. Toronto: Gage, 1973, p. xviii. Hood's "The End of It" appears at the end of a section entitled "The Rise of Critical Realism," where it follows selections by E. P. Grove, Morley Callaghan, Hugh MacLennan, Sinclair Ross, and Hugh Garner. Smith finds that in comparison with the work of Callaghan and MacLennan, the fiction of such younger realists as Ross, Garner, Hood, Jack Ludwig, Mordecai Richler, and Alice Munro exhibits "increasing subtlety and experimentation in theme and style" but narrower range and less ambitious scope.
C43 S[tory]., N[orah]. "Fiction in English." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 81, 85, 88, 90. Story offers short analyses of three of Hood's novels--You Cant Get There From Here, The Camera Always Lies, and A Game of Touch, as well as brief discussions of two of Hood's short story collections, Around the Mountain: Scenes from Montreal Life and The Fruit Man, The Meat Man & The Manager. You Cant Get There From Here "is a compact and shrewd satire on the devious methods of the Great Powers in their dealings with emerging African nations" and "also reflects the Canadian situation." "Hood evokes sympathy for his very human characters, who are caught in tragic situations that he lightens with a number of comic scenes.".
C44 S[tory]., N[orah]. "Hood, Hugh (1928- )." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 163-64. Story draws attention to Hood's ability to convey "the motivations and skills" of individuals belonging to different professions through his use of "clear and precise prose," and she refers to the "firm but unobtrusive Christian attitude" which underlies his work.
C45 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 44, 47, 112, 138, 174, 183, 210. White Figure, White Ground is more subtle in its effect than Hugh MacLennan's Return of The Sphinx or Gratien Gelinas' Yesterday the Children Were Dancing, and more complicated than MacLennan's Two Solitudes. Waterston describes White Figure, White Ground as "a puzzling and subtle book, moving bicultural tension to psychological and aesthetic planes of meaning."
C46 Weaver, Robert, and William Toye. "Hugh Hood." In The Oxford Anthology of Canadian Literature. Ed. Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 214. Rpt. (revised) in The Oxford Anthology of Canadian Literature. Ed. Robert Weaver and William Toye. 2nd ed. Toronto: Oxford Univ. Press, 1981, pp. 185-86. This biographical, bibliographical, and critical sketch to 1972 (revised to 1979) emphasizes Dennis Duffy's comments (C22) that" 'The world of Hood's fiction is a job world,' " and that in Hood's writing people are "'seen and magnified through the technical details of their jobs.'" It also states that "Recollections of the Works Department," the story of Hood's excerpted in this anthology, "draws its strength from its documentary detail" and "is based on an actual job experience" although "the author himself describes it as 'a fiction.'"
C47 Tata, Sam. "Mother Goosed: Hugh Hood's Version of 'Diddle Diddle Dumpling.'" Impulse, 3, No. I (Fall 1973), 19-21. A parody of Hood and his writing by his friend the photographer Saam (Sam) Tata.
C48 New, William H. "Annual Bibliography of Commonwealth Literature 1972: Canada." The Journal of Commonwealth Literature, 8, No. 2 (Dec. 1973), 63, 73-74, 84. New refers to the "continuing vitality in the short story," as exemplified by the works of several writers including Hood. The article also provides selected bibliographical information on Hood for the year 1972.
C49 Cloutier, Pierre. "Space, Time and the Creative Imagination: Hugh Hood's White Figure, White Ground." Journal of Canadian Fiction, 3, No. I (Winter 1974), 60-63. Rpt. (excerpts) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Vol. xv. Ed. Sharon R. Gunton and Laurie Lanzen Harris. Detroit: Gale, 1980, 285-86. Cloutier contrasts Hood's White Figure, White Ground with other Canadian novels about artists. "The creation of a poetic space within which the imagination ranges freely, the use of the Canadian landscape as metaphor, is one of Hood's most significant achievements." The images of nature presented by Hood are "Not . . . foreboding, bleak, powerfully destructive, hostile, oppressive." To Hood, Canada is "both fact as fact and fact as metaphor, what Coleridgean aesthetics called the translucence of the eternal through and in the temporal." White Figure, White Ground's extensive colour symbolism and its two key symbolic paintings are discussed. Having begun with a discussion of Hood's use of space, Cloutier concludes with a discussion of "time-depth" in the novel--its "echoes of myth, epic and romance"--and Hood's "historical sense," which "revolves the diachronic dimension of meaning and therefore affirms the cultural interdependence of all men."
C50 Davey, Frank. "Hugh Hood (1928- )." In his From There to Here: A Guide to English-Canadian Literature since 1960. Vol. II of Our Nature--Our Voices. Erin, Ont.: Porcepic, 1974, 138-42. Davey finds "Hood's total credibility, in characterization as well as setting, to be unexcelled in Canadian writing." Davey comments on Hood's Roman Catholic upbringing and education and his "strongly conservative sense of ethics," states that "Hood's vision of Canadian life is decidedly romantic," and contrasts this outlook with "the gloomy anxiety about protestant shibboleths-- sin, conformity, and hard work-- which characterizes the work of many of Hood's Toronto contemporaries." Davey also refers to "Hood's abundant use of factual detail" and to the "chatty, matter of fact, and unplanned" appearance of Hood's writing which covers Hood's significant accomplishments "in the art of invisible craftsmanship."
C51 Klinck, Carl F. and Reginald E. Watters. "Hugh Hood (1928- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 499, 512, 674-75. Contains biographical information, excerpts from a letter to one of the editors of the anthology in which Hood comments on his story "The Hole," and bibliographical information to 1973, including selected criticism.
C52 Moss, John. "Man Divided amongst Himself: Hood's Leofrica." Journal of Canadian Fiction, 3, No. I (Winter 1974), 64-69. Rpt. (revised) in his Sex and Violence in the Canadian Novel: The Ancestral Present. Toronto: McClelland and Stewart, 1977, pp. 237-45. Moss emphasizes the uniqueness of You Cant Get There From Here compared with other utopian and dystopian literature and with other literature using African materials. Hood's Leofrica "is represented in terms of documentary realism" and "might easily be pinpointed on a map of Africa that has no boundaries to refute the possibility"; yet Leofrica "does not, did not and cannot exist, for it is a visionary construct." Moss discusses the "highly complex" narrative form of the book, Hood's avoidance of irony on the moral level and exploitation of irony on the narrative level, the reader's sense of complicity in the moral nightmare, the natures and fates of various characters, and the contribution of such motifs as currency, excrement, and irresponsible sexuality to "a thematic coherence charged with the distortion of values." Although the book appears to reflect "a form of philosophical dualism or Manicheism," in fact the pairs are indivisible and what Hood has actually created is "an inversion of Thomistic reality." "In this cosmology, the primacy of unified existence is upheld as an ideal by showing the perverse effect of its inversion, its operative misrepresentation." (See C76).
C53 Moss, John. Patterns of Isolation in English Canadian Fiction. Toronto: McClelland and Stewart, 1974, P. 110. To support an argument that most English-Canadian novelists from Ontario and Quebec "fastidiously avoid confrontations with nature except to universalize brief statements of thematic significance," Moss cites as examples "Hugh Hood's various forays to the city's edge in pursuit of elusive affirmation" along with Morley Callaghan's They Shall Inherit the Earth.
C54 Thompson, Kent. "Hugh Hood and His Expanding Universe." Journal of Canadian Fiction, 3, No. I (Winter 1974), 55-59. Rpt. (excerpts) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Vol. xv. Ed. Sharon R. Gunton and Laurie Lanzen Hams. Detroit: Gale, 1980, 284-85. Hood might be seen "as continuing the moral concerns of Morley Callaghan and the national ones of Hugh MacLennan." Hood's writing is both simple and complicated, "easy enough to read. . . and someumes difficult to understand." Thompson reflects on Hood's interest in relativity, the fact that his "'characters generally live lives of confused human ignorance in a universe of time and space," and comments on the workings of "significant time" and "conceptual time," the interrelationship of human time and human space, and the importance of human freedom and choice within Hood's relativistic universe. The question of individual identity leads into the problem of Canadian identity, which makes "Hood's work. . .of great significance to the Canadian culture" although this problem is still "part of a larger, human one." Thompson discusses the importance of ritual in Hood's work and refers to a number of subjects -- especially hockey -- which Hood uses recurrently "for various metaphorical reasons." Thompson then supplies a full analysis of Hood's story "The Sportive Centre of Saint Vincent de Paul."
C55 New, William H. "Annual Bibliography of Commonwealth Literature 1973: Canada." The Journal of Commonwealth Literature, 9, No. 2 (Dec. 1974), 76, 82, 83. Selected bibliographical information on Hood for the year 1973.
C56 Ballstadt, Carl. Introduction. In The Search for English-Canadian Literature: An Anthology of Critical Articles from the Nineteenth and Early Twentieth Centuries. Ed. Carl Ballstadt. Literature of Canada: Poetry and Prose in Reprint, No. 16. Toronto: Univ. of Toronto Press, 1975, pp. xlv, 1. The ideas expressed in Hood's "Moral Imagination: Canadian Thing," or in individual essays by A. J. M. Smith and Northrop Frye, bear a distinct similarity to the characteristic themes of earlier generations of Canadian criticism. This continuity demonstrates the existence of an established, enduring critical tradition in Canadian letters.
C57 "Hood, Hugh (John Blagdon) 1928- ." In Contemporary Authors: A Bio-Bibliographical Guide to Current Authors and Their Works. Vols. XLIX-LII Ed. Clare D. Kinsman et al. Detroit: Gale, 1975, 262-63. Contains biographical and bibliographical information to 1973, a note on Hood's work in progress, and a brief comment by Hood on The New Age/Le nouveau siecle.
C58 New, William H. Among Worlds: An Introduction to Modern Commonwealth and South African Fiction. Erin, Ont.: Porcepic, 1975, pp. 124-25. New maintains that for Hood, "In a chaotic universe, only powerful (perhaps even ritualistic) human assertions -- like religion -- will provide the kind of formal as well as visionary sustenance that people need in order to continue living." New praises Around the Mountain: Scenes from Montreal Life as Hood's "best work" (up to 1972) and uses You Cant Get There From Here to make a transition from Hood's writing to the significance of Africa in Canadian fiction. "'Africa' . . . becomes in Canadian fiction less of an actual place than another representation, like the Arctic and the Western wilderness, of the visionary persuasion that constitutes the Canadian soul."
C59 New, William H., and H. J. Rosengarten. "Hugh Hood (b. 1928) ." In Modern Stories in English. Ed. William H. New and H. J. Rosengarten. Toronto: Copp Clark, 1975, p. 120. This critical sketch notes that for Hood, religion and other rituals are forms of human assertion against a chaotic universe and are ways of preserving culture. Around the Mountain: Scenes from Montreal Life is Hood's "most critically successful book" (to 1973) and Quebec is "His characteristic setting." However, the article also comments on Hood's additional use of American and African settings, "Fellini-like 'super-realism,'" and fantasy (sometimes with satirical overtones, as in "The Dog Explosion," the story by Hood selected for this anthology).
C60 Stevens, John. "Introduction: The Urban Magnet." In The Urban Experience. Ed. John Stevens. Themes in Canadian Literature. Toronto: Macmillan, 1975, p. 2. Like other pieces in this anthology, Hood's "Flying a Red Kite" expresses the loneliness that may be felt in a metropolis, along with "a sense of the dream lost in competitive turmoil." Stevens lists Hood among writers who comment on contemporary urban life rather than its earlier generations.
C61 New, William H. "Annual Bibliography of Commonwealth Literature 1974: Canada." The Journal of Commonwealth Literature, 10, No. 2 (Dec. 1975), 86, 96. Selected bibliographical information on Hood for the year 1974.
C62 Blaise, Clark. "Writing Canadian Fiction." Fiction International, Nos. 6-7 (1976), pp. 5, 6, 7, 8, 9. Blaise cites Hood's The New Age/Le nouveau siecle, among other works, as an example of Canadians' "concerted effort to reclaim ancestry, to celebrate the land and continuity through blood and tribe and language and myth." "Next to Pynchon (or Heller, or Barth), Laurence, Atwood, Wiebe and Hood are simple-minded, didactic, and perhaps sentimental. It is a contrast between modernism and the 19th century."
C63 Colombo, John Robert. "Hood, Hugh (b. 1928)." In his Colombo's Canadian References. Toronto: Oxford Univ. Press, 1976, p. 244. Biographical and bibliographical information to 1976.
C64 Conron, Brandon. "Essays." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. IIl, 177. Conron comments on the "clarity and good humour" with which Hood, in the essays in The Governor's Bridge is Closed, expresses "his cheerful belief in Canadian life and culture." Hood's "relaxed explorations and meditations provide moving insights into his own and the reader's consciousness."
C65 Gifford, Tony, ed. and introd. The Play's the Thing: Four Original Television Dramas. Toronto: Macmillan, 1976, pp. 8, 169-72, 181. Gifford's anthology includes Hood's short story "Friends and Relations" (B133) and his television play of the same title (B73) in order that the reader can study how a work of prose fiction was adapted into a television drama. Gifford comments on and raises questions about Hood's comedy and social criticism as seen in his portrayal of the character and situations of Mrs. Bird. In the play, "Hood presents us with one woman as a model to call into question many assumptions about women's place in society or in business."
C66 Fee, Margery, and Ruth Cawker, ed. and introd. Canadian Fiction: An Annotated Bibliography. Toronto: Peter Martin, 1976, pp. 59, 119, 120, 121, 131, 133, 148, 149, 150, 151, 152, 153, 156, 159, 164, 165, 168, 169. This bibliography contains short annotations about Flying a Red Kite, Around the Mountain: Scenes from Montreal Life, The Camera Always Lies, A Game of Touch, The Fruit Man, The Meat Man & The Manager, and You Cant Get There From Here, as well as citations under the "Title Index" and under the headings of "Politics" and "Quebec" in the "Subject Guide." Individual contributions by Hood to various short story anthologies are named in the table of contents given for each anthology and in the "Short Story Author Index" and the "Short Story Title Index."
C67 [Macintosh, Keitha.] "Hugh Hood: Super-Realism." Montreal Poems, No. 3 (Winter 1976), p. 52. One feature of Hood's work is its treatment of "The conflict between the need for freedom in which to develop one's fullest psychic potential and the need for social acceptance, material security and links with the past." "But many of Hood's protagonists are not able 'to launch out into the deep.' Like those who watch the whalers embark for unknown seas . . . in Moby-Dick, Hood's heroes must often be land people, with solid soil beneath their feet."
C68 New, William H. "Fiction." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck, 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 257, 263-65. Rpt. (excerpts) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Vol. xv. Ed. Sharon R. Gunton and Laurie Lanzen Harris. Detroit: Gale, 1980, 286. Hood's writing "provides a connection between the realistic and stylistically experimental," and conveys "the effect of surface reality which on examination proves to be masking much deeper truths." A "conversational tone but formally argumentative style is typical of Hood," whose work is comprised of "tone structures." In A Game of Touch, "the characters themselves, partly because of Hood's increasing control over first-person point of view, are more individually realized"; and in You Cant Get There From Here, Hood has "honed further his skill at characterization and the degree of subtlety with which he could pursue his themes." Hood's "novels are intelligent works," although Hood has "remained most known as a writer of short stories." "Hood's continuing attempt to reach from the known to the unknown describes an inquiring mind, appreciative of tradition while wholly contemporary, seeking answers to the unanswerable paradoxes of human behaviour."
C69 Sutherland, Ronald. "Canadian Fiction -- Comparatively Speaking." Review of National Literatures, 7 (1976), 34. Rpt. (revised) in his The New Hero: Essays in Comparative Quebec/Canadian Literature. Toronto: Macmillan, 1977, p. 27. Hood's You Cant Get There From Here is one example of how "Africa has become for some Canadian writers an instrument for allegorical treatment of Canada itself." In the revised version, Sutherland also refers to "a good measure of Jamesian sensibility and intricacy" in You Cant Get There From Here, as in Dave Godfrey's The New Ancestors.
C70 Woodcock, George. "Ancestral Voices: CanLit's Fascination with the 1930s Is More than a Fad; It's One Bread Decade Reaching Back to Another." Books in Canada, Feb. 1976, pp. 3, 4, 6. Woodcock comments on the appropriateness to the 1970s of the decade's literary and historical revival of interest in the 1930s, and notes that one of the characteristics of the 1930s in literature "was the tendency of reportage and personal recollection to merge into fiction." Hood's writing leaves the reader "with an image of vividly conceived townscapes inhabited by hands doing interesting things but incongruously attached to shadows." Hood's creation of major characters at least in the first volume of The New Age/Le nouveau siecle does not match his model Proust's. Woodcock concludes favourably, however, that "if one looks at The Swing in the Garden as an evocation of what Toronto was like in a child's eye view of the 1930s and as an account of what shabby genteel people threatened with failure did there, it is prime Hood . . . astonishing one both by the vividness with which he recollects the places of his childhood and the care with which his research has filled in the gaps."
C71 Pache, Walter. "Auf der Suche nach Identitat: Zur Situation der englisch-kanadischen Literatur." Akzente [Munchen, W. Ger.], 23 (Juni 1976), 208-09. This survey article includes a brief comparison of Dave Godfrey's The New Ancestors and Hugh Hood's You Cant Get There From Here. "Auch politische Themen erfreuen sich seit einigen Jahren einer steigenden Beliebtheit. Dave Godfrey verlagert in The New Ancestors (1970) einheimische Konflikte in einen halbfiktiven afrikanischen Staat -- ein Kunstgriff, dessen sich auch Hugh Hood in You Can't Get There From Here (1972) bedient." Pache also discusses Brian Moore's The Revolution Script in the same critical context.
C72 New, William H., and Helene Redding. "Annual Bibliography of Commonwealth Literature 1975, Part I: Canada." The Journal of Commonwealth Literature, II, No. 2 (Dec. 1976), 32-33, 53, 69. The Swing in the Garden, New comments, "demonstrates Hood's incredible faculty for remembering detail, his unselective yet captivating account of the sights and sounds of a place and a period, his control over tone, and his strong conception of character, particularly that of the narrator's father. Humour and pathos elegantly combine." The article also provides selected bibliographical information on Hood for the year 1975.
C73 Bowering, George. A Short Sad Book. Vancouver: Talonbooks, 1977, pp. 83, 94, 189. Bowering mentions Hood three times by name in this burlesque novel, including the index. Some allusions to Hood's writing -- to the title Around the Mountain: Scenes from Montreal Life and the character Marie-Ange, for example--are made as well.
C74 Hancock, Geoff. "Here and Now: Innovation and Change in the Canadian Short Story." The Canadian Fiction Magazine, No. 27 (1977), pp. 7, 15, 16. Hancock mentions Hood's fiction along with that of nearly all of the other writers represented in Here & Now: Best Canadian Stories as an example of "the realistic impulse" in Canadian fiction. Like some other writers in the anthology, Hood also knows "how to tell stories, to orchestrate the 'and then, and then' of event from a strictly controlled point of view." In a discussion of changes which occurred in the Canadian short story in the 1950s and 1960s, Hancock argues that "The prose became restrained, compressed and objective," and that by the time Hood's The Fruit Man, The Meat Man & The Manager was published, "language was becoming astringent."
C75 Morley, Patricia A. The Comedians: Hugh Hood & Rudy Wiebe. Toronto: Clarke, Irwin, 1977, pp. viii, ix, 1-5, 8, 10, 11, 14-61, 78, 89, 100, l06, 108-31. From the perspective of Northrop Frye's definition of comedy, the "Christian myth" that shapes Hood's art is "a prototype of comic structure, moving as it does from bondage to freedom, marriage and joy." Freedom in a religious and social sense is a central theme in Hood's work; and although his vision is of "freedom within an ideal society," his fiction frequently depicts "undesirable societies." Hood's novels contain "social, erotic, and individual" patterns of integration. White Figure, White Ground "is a romantic quest in comic form." The Grail takes the forms of self-knowledge, knowledge of God (which is expressed in Alexander MacDonald's paintings), and desirable social relationships (which are fulfilled through his family and friends). The questor is an artist who seeks freedom and truth, and the novel develops a balance between its romantic elements and various ironies, such as the theme of incest.
The Camera Always Lies is also a "romantic comedy." It represents "a comic parody of the kind of novel usually written about the film world," and it presents two societies -- one corrupt and one ideal. The two artists in the book are aligned with different "moral communities"; and, as in Hood's first novel, characters' professions allow the author "to discuss the theory of art within the novel and to use this theory as a moral analogue."
A Game of Touch is an "ironic comedy," in which Hood "uses the game as a microcosm of the world," and in which city life includes the games of politics and sex. Hood focuses on urban society and social relationships. The seemingly loose structure of the work conceals the structure of "a modern version of the picaresque novel." Jake, the picaro, "moves from being an outsider on the fringe of the game to being a regular player, part of the pattern."
You Cant Get There From Here represents "comedy in its most ironic form" since the "mock society" of Leofrica disintegrates. The book can also be regarded as "a parody of romance," in which Leofrica becomes a "satiric or mock utopia."
Hood's short stories display a "combination of humour with irony and pathos," and their protagonists often resemble the comic-pathetic hero characteristic of dark comedy. Around the Mountain: Scenes from Montreal Life is occasionally described as a "documentary"; but if regarded as fiction, the stories in it are often seen to exhibit a similar combination of humour and pathos.
C76 Moss, John. Sex and Violence in the Canadian Novel: The Ancestral Present. Toronto: McClelland and Stewart, 1977, pp. 7, 26, 84, 87, 95, 96-102, 234-35, 236, 237-45, 254, 255, 276, 309, 316. Hood sustains "The most consistent moral vision" among Canadian novelists. Moss examines White Figure, White Ground and You Cant Get There From Here. In the first, Moss discusses the relationships among Alex, Madeleine, and Ellen in terms of Blake's mythological "Urthona triangle" and describes Alex's dark family secret as an "oedipal relationship involving his father and grandparents." Moss remarks that "the success of Hood's novel, on every level, depends on accepting the viability of rigidly doctrinaire principles governing moral behaviour." While he finds the novel generally effective, he questions Hood's ability to combine symbolism and realism in some cases and criticizes Hood's language. Nevertheless, in White Figure, White Ground, "Hood accomplishes more than many artists would dare attempt." Moss's subsequent discussion of You Cant Get There From Here is based on a revision of an earlier article. He argues that although You Cant Get There From Here represents "a bizarre departure" from Hood's "normally subdued realism," it is in this work that "Hood's vision approaches its fullest statement." (See C52.)
C77 Sutherland, Ronald. The New Hero: Essays in Comparative Quebec/Canadian Literature. Toronto: Macmillan, 1977, pp. 93-94, 104. Although Sutherland lists Hood's first, second, fourth, and fifth novels in his bibliography, he refers only to Hood's You Cant Get There From Here. Hugh Hood, like Hugh MacLennan before him, belongs to "the mainstream of Canadian literature," in that he exhibits "awareness of and sensitivity to fundamental aspects of both major language groups in Canada, and of the interrelationships between these two groups."
C78 Struthers, J. R. (Tim). "End of Canadian Literature?". The London Free Press, 4 June 1977, Sec. 2, p. 28. Dark Glasses, "a collection containing some delicately structured short stories by one of Canada's acknowledged masters of the art form," is considered to be a praiseworthy work which did not receive the attention it deserves.
C79 Thompson, Kent. "Formal Coherence in the Art of Hugh Hood." In Minus Canadian: Penultimate Essays on Literature. Ed. and introd. Barry Cameron and Michael Dixon. [Studies in Canadian Literature, 2 (Summer 1977), 203-12.] Thompson examines the interrelationships of Hood's philosophical attitudes and his artistic techniques, beginning with the assertions that "Hugh Hood is by inheritance, choice, and intellectual conviction a Roman Catholic Christian writer" and that "the result is an art which is a complete, coherent, and systematic way of looking at the universe." Drawing on Hood's essay "Sober Colouring: The Ontology of Super-Realism" (B91), Thompson places Hood's aesthetics in the tradition not of Plato but of Aristotle and his follower St. Thomas Aquinas. Hood's view that nothing is trivial might be regarded as "his starting point, or his Wordsworthian look at the immensity of small things." Beyond that lies the position which Hood takes in another essay, "The Absolute Infant," which argues, in Thompson's words, that following Aristotle's recognition of the union of form and matter in things, "it was left. . . to Judaism to see also that this spirit was coherent and singular, and to call this spirit God," and then to Christianity to combine the insights of the Greeks and the Jews in the mystery of the incarnation. Hood is "a Christian Existentialist," since, on the one hand, "for Hood reality is spiritual and material, coherent, and to be perceived through a Christian imagination," and since, on the other hand, "the initial position in his argument -- and indeed, at least two of its subsequent positions--demands a choice." Thompson then provides a detailed examination of Hood's story "The Village Inside."
C80 New, William H., and Helene Redding. "Annual Bibliography of Commonwealth Literature 1976, Part I: Canada." The Journal of Commonwealth Literature, 12, No. 2 (Dec. 1977), 24, 49, 68. New yokes Hugh Hood with Hugh Garner, and states that both Garner, in the stories in The Legs of the Lame, and Hood, "with his melodramas of daily life in the stories of Dark Glasses, try to confront reality mimetically." "Hood," New adds, "doesn't differentiate among his characters' voices." The article also provides selected bibliographical information on Hood for the year 1976.
C81 Downey, Deane E. D. "The Canadian Identity & African Nationalism." Canadian Literature, No. 75 (Winter 1977), pp. 15, 16, 23-26. Downey examines Hood's You Cant Get There From Here along with other Canadian fiction "about Africa" written by Margaret Laurence, Dave Godfrey, and David Knight. He relates "Canadian fascination with African nationalism" to "the fact that many of the conflicts present in a newly independent African country have their clearly identifiable counterparts in recent Canadian experience." "Perhaps Canadian writers are attracted by the prospect of greater dispassion in the examining of these very Canadian concerns in a non-Canadian context." You Cant Get There From Here is regarded as "The least successful" of the three novels about Africa which Downey analyses; he speaks critically of "a marked preference for narration in lieu of dramatization" in the book and of "characters who are far too representative to engage our sympathies."
C82 Ketterer, David. "Canadian Science Fiction: A Survey." Canadian Children's Literature, No. 10 (1977-78), p. 20. Rpt. (revised -- "Canadian Science Fiction") in Other Canadas: An Anthology of Science Fiction and Fantasy. Ed. and preface John Robert Colombo. Toronto: McGraw-Hill Ryerson, 1979, pp. 329, 332. Ketterer lists Hood's "After the Sirens" among "stories by a number of major Canadian writers who have occasionally turned their hands to science fiction." Conclusions about "the very disparate material which comprises Canadian science fiction" are difficult to draw. However, "the catastrophe or end-of-the-world theme," which is exemplified by Hood's story, "is pretty much a generic characteristic."
C83 Blaise, Clark. "The Commonwealth Writer and His Material." In Awakened Conscience: Studies in Commonwealth Literature. Ed. C. D. Narasimhaiah. Atlantic Highlands, N.J.: Humanities, 1978, p. 120. Blaise speaks at one point of the challenges which faced William Faulkner and which now concern many Commonwealth writers: "staking a first literary claim, having to render virgin territory for 'foreign' readers, while at the same time counteracting the inherited misconceptions of generations." Such visionaries "have as much to undo, as they have to introduce," and consequently are prey to "the temptation of didacticism." Hood's "early works" are cited along with other examples of this tendency.
C84 Delany, Paul. "An Interview with John Mills." Journal of Canadian Fiction, No. 22 (1978), p. 70. Mills cites Hood's A New Athens as "the best book I've read in a long while by a Canadian." Although "It's very Canadian in the sense that its focus is on a region of Ontario," it is completely unlike the novels of Morley Callaghan, for example, or anything else before it in Canadian fiction because "It's an attempt at visionary art" and not "a self-conscious Canadian novel . . . about bears, about Indians, or about garrisons."
C85 Hood, Hugh, and John Mills. "Hugh Hood and John Mills in Epistolary Conversation." The Fiddlehead, No. 116 (Winter 1978), pp. 133-36, 138-39, 141-44. Mills's review of The Swing in the Garden (D96) is reprinted here, and is followed by a series of five letters exchanged between Hood and Mills (BIII). In answer to Hood's reply to Mills' review, Mills challenges Hood to think about the somewhat common critical complaint that Hood is less successful as a novelist than as a short story writer. Mills concludes this letter by complimenting Hood on his writing but reaffirming his own view that honest criticism is far more valuable than "respecting one another's feelings." In reply to Hood's next letter, Mills praises the style or manner of The Swing in the Garden--how "you (or Matt) observe a world charged with 'the grandeur of God' (in Hopkins' phrase)"--but objects that the novel conveys "'reality . . . but not the inventive, the imaginative, the fictional reality." Mills concedes, therefore, to Hood that "you are probably right in saying that your books are special types of prose construction and that the critic ought not to deal with them as he would novels per se." Hood's next letter concluded the exchange.
C86 Owen, Ivon, and Morris Wolfe. Introduction. In The Best Modern Canadian Short Stories. Ed. Ivon Owen and Morris Wolfe. Edmonton: Hurtig, 1978, p. 9. In the case of Hood's "Three Halves of a House," the St. Lawrence River "actually becomes a living creature." This short story, the editors also note, "is a kind of prologue to... A New Athens, where the whole region of Ontario bordering the upper St. Lawrence is the protagonist, dominating and directing the human figures it contains."
C87 Cameron, Barry. "Response." The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 16 Feb. 1978. Printed (revised -- "Criteria of Evaluation in the Canadian Novel: A Response to Robert Kroetsch") in Essays on Canadian Writing, No. 20 (Winter 1980-81), pp. 27-28. Rpt. ("Response") in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, pp. 29-30. Rudy Wiebe, Hugh Hood, and Robert Kroetsch "have reinvented the function of the novel--redefined it in more capacious, elastic formal terms grounded in an awareness of man's fundamental and habitual psychological activity of fictionalizing and, in so doing, have reinvented Canadian experience and the Canadian past." For each of these writers, "... novels are not artifacts concealing or revealing ideas but 'fictional histories' in a Dantean sense signifying ideas, values, and figural relationships .... "
C88 Sutherland, Ronald. "The Two Cultures in the Canadian Novel." The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 16 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, p. 47. Hood's You Cant Get There From Here Is listed among the novels in the last of Sutherland's "four general categories pertaining to the 'two cultures' in the Canadian novel." This category, " 'Symbolic Representation,'" includes "works which seem to deal with the Canadian situation indirectly through symbols or allegory."
C89 Ross, Malcolm. "The Ballot." The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 18 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, p. 153. Hood's White Figure, White Ground is listed near the end of the top one hundred novels.
C90 "The Most Significant 100 Canadian Novels." The Montreal Star, 25 Feb 1978, Sec. Entertainments, p. D-1. In this selection made for the Conference on the Canadian Novel at the University of Calgary in 1978, only the first of the six novels that Hood had published by that time, White Figure, White Ground, was mentioned--ninety-sixth on the list.
C91 Duffy, Dennis. "Ontario Is Eden. Says Who? Ontario Writers. Who Else Would Dare?". The Globe and Mail, 12 Aug. 1978, "The Mermaid Inn," Sec. I, p. 6. Duffy analyses works by William Kirby, Mazo de la Roche, and Hood as examples of the "body of literature that sees Ontario as the Garden of Eden." In A New Athens, "The Eastern Ontario town of Stoverville, a fairly smug and costive spot in Hood's earlier fiction, becomes now the dwelling place of a people unabashedly intent upon carrying over the best of the past into the modern age."
C92 McCarthy, Dermot. "Morley than Enough." Rev. of The Comedians: Hugh Hood & Rudy Wiebe, by Patricia A. Morley. Essays on Canadian Writing, No. 12 (Fall 1978), pp. 275-76, 277. In general, Hood's work is "problematic, if not flawed." White Figure, White Ground, as Desmond Pacey argued (D9), appears to contain a confusion of the modes of romance and realism. The Camera Always Lies, Hood's second novel, is also flawed, "perhaps by a confusion of elements when a fitting combination is needed." Hood's third novel, A Game of Touch, is his "weakest," since "Hood only touches subjects which need to be grasped firmly" and since Jake is "a flat and boring central character." In You Cant Get There From Here, however, "the dystopian frame provides fertile ground" for the blending of fantasy and realism. You Cant Get There From Here "is Hood's strongest and strangest novel... , disturbing and unrelenting in its black humour, unbending in its pessimism." Yet it poses questions for the critic: "Is the moral order shadowed by the satire perhaps too vague? Is the pessimism generated by the narrative and characterization instructive or simply indulgent?"
C93 Garebian, Keith. "The Swing in the Garden: Hugh Flood's Pastoral." The Commonwealth in Canada, Concordia Univ., Montreal. 19 Oct. 1978. 40 pp. In an attempt to answer questions about the form of The Swing in the Garden raised by such critics as John Mills (D96), Garebian chooses "to treat the book not so much as a novel but as a long narrative piece of fiction that assimilates realism, satire, and romance." "The overall shape," he maintains, "is determined implicitly by subtle symbolic elements, what John Mills calls 'a sequence of emblems, to poi for meditation,' and far from being undramatic, The Swing in the Garden is very much a drama of awareness." Garebian examines the book's perception of society and the individual, its presentation of conflicts, and its gradations of tone as projections of a fundamentally pastoral mode. The nature of the pastoral vision in The Swing in the Garden, however, including the image of Matthew Goderich as a sort of Biblical Adam, is "Canadian in its blameworthy, After-the-Fall style" and quite dissimilar from the prelapsarian image of Adam found in nineteenth-century American literature." "The pastoral idyll ends, after its satiric and romantic phases, in deadly realism and irony." "Hood's pastoralism begins with an innocence that does not go unchallenged or untransformed. It is tested by drama -- even if, at times, only intellectual drama -- and strong intellectual illuminations charge it so that we grasp its special complexities, buoyant assurance, and encircling doubt about Canadian society growing up with Matt Goderich."
C94 New, William H., and Marilyn G. Flitton. "Annual Bibliography of Commonwealth Literature 1977, Part I: Canada." The Journal of Commonwealth Literature, 13, No. 2 (Dec. 1978), 52, 73, 94. New mentions that "Hugh Hood continues, with characteristic detail, his family saga of the twentieth century." The article also provides selected bibliographical information on Hood for the year 1977.
C95 Bowering, George. Introduction. In Great Canadian Sports Stories. Ed. George Bowering. Ottawa: Oberon, 1979, pp. 5-6. Whereas numerous American fiction writers have treated the subject of sport, the amount of Canadian sports fiction is limited mainly to works by Hood, "who could have filled this present volume alone," and by Morley Callaghan and Hugh Garner, "our two great realists."
C96 Colombo, John Robert. Preface. In Other Canadas: An Anthology of Science Fiction and Fantasy. Ed. John Robert Colombo. Toronto: McGraw-Hill Ryerson, 1979, p. 2. "After the Sirens" is representative of the second of four characteristic themes of Canadian science fiction and fantasy: the more limited "NATIONAL DISASTER SCENARIO" shown when "a writer focuses on the collapse of a single city, the contamination of a region, or the unravelling of the social fabric of the country."
C97 "Balancing the Books: An Opinion Poll Records the Fall of F.P. Grove (and Others) and Reveals a Growing Split in the Community of Canadian Letters." Books in Canada, Jan. 1979, p. 4. Louis Dudek cites Hood as the most under-rated fiction writer in English Canada. "Hood is a truly fine writer who needs to be more widely read."
C98 Smith, Michael. "Interview with John Metcalf." Books in Canada, Jan. 1979, p. 23. Metcalf argues that "there really was not much good Canadian literature until round about 1950" and that in the case of the short story, "It started with Hugh Hood's Flying a Red Kite.'"
C99 Bowering, George. "Songs and Wisdom: An Interview with Audrey Thomas." In Three Vancouver Writers: Interviews by George Bowering. [Open Letter, Ser. 4, No. 3 (Spring 1979)], p. 15. During a brief discussion of some "African" fiction written by Thomas, Margaret Laurence, Dave Godfrey, and Hugh Hood, Bowering states that You Cant Get There From Here is "very clearly a metaphor, or an analog," because Hood is "writing about Quebec." Thomas replies that she is "very much interested" in the fact that Hood has never visited Africa and says that she will probably read the book.
C100 Duffy, Dennis. "'More dear, both for themselves and for thy sake!': Water in Hugh Hood's New Age." Hugh Hood Symposium, Stong College, York Univ., Downsview, Ont. 17 Oct. 1979. 8 pp. This paper represents, in Duffy's words, "a mixture of literary appreciation and personal experience, an account of the way a writer's imaginings lay hold of the lives of the people of his time." Canadian society is "rich in contradictions and complexities." Thus "The reality of Hood's Upper Canada includes the idyllic dreams of [A New Athens] as well as the mammonish control systems of [Reservoir Ravine]"; and, as the title of the latter novel indicates, "underground streams and deep romantic chasms can be found beneath the surface of the driving, entrepreneurial city that long ago turned its back on its own waterfront and has only recently begun to attempt to restore it to the people." Duffy stresses the importance of the fact that Hood's "imaginative hold" over a certain place has been conveyed to his readers, and expresses the wish that "When critics take into account literary achievement, I hope they won't leave that consideration--and our rap--out of the measure."
C101 Flitton, Marilyn G. "Annual Bibliography of Commonwealth Literature 1978: Canada." The Journal of Commonwealth Literature, 14, No. 2 (Dec. 1979), 43, 54. Flitton observes that "Volumes of short stories and/or prose pieces were very much in evidence in the year's crop of fiction." She cites Hood's Selected Stories among a number of notable titles. The article also provides selected bibliographical information on Hood for the year 1978.
C102 Bowering, George. "Modernism Could Not Last Forever.'" Canadian Fiction Magazine, Nos. 32-33 (1979-80), pp. 4, 5, 8. Rpt. (revised -- "Introductory Notes") in Fiction of Contemporary Canada. Ed. George Bowering. Toronto: Coach House, 1980, p. 8. Rpt. (revised--"Modernism Could Not Last Forever") in his The Mask In Place: Essays on Fiction in North America. Winnipeg: Turnstone, 1982, pp. 77, 79, 82. In the first and third versions of his essay, Bowering criticizes the tastemakers of Canadian literature for convincing themselves "that literature is really sociology" and, thus, for strongly preferring "realism & naturalism" to more creative works of the imagination: such persons "would rather see a story about a Toronto heavyweight boxer who loses the shot he gets at the world championship, than Hugh Hood's fabulous The Pitcher.'" Classifying Hood's fiction as "postmodern," Bowering states (in all versions of the essay) that "Hood often writes fables to show that spiritual hope is finally more interesting than the human zoo."
C103 Garebian, Keith. Introduction. In None Genuine Without This Signature. By Hugh Hood. Downsview, Ont.: ECW, 1980, pp. I-xiv. "From the first, Hood's fiction has been ambitiously allegorical and richly layered"--an art that is "more than simple realism." For example, Flying A Red Kite "gives us several Grail stories in disguise"; The Fruit Man, The Meat Man & The Manager "can be read as a series of panels about penance and grace"; and the title story of None Genuine Without This Signature offers subtle "religious analogies" and "theological parody." Hood's choice of title for the collection None Genuine Without This Signature suggests that "A signature. . . might well be the key for unlocking the entire book." "The signature theme culminates in 'The Woodcutter's Third Son' and 'None Genuine Without This Signature' -- the first a rhetorical exercise in analogy, and the second a playful satire." Among the qualities of Hood's fiction is "a documentary sense that has no contemporary equal or better, except in the fiction of V. S. Naipaul." "Though Hood is not an experimentalist in the sense of a John Barth or an Alain Robbe-Grillet or a Jorge Borges, he is not as conservative a writer as many Canadian critics mistakenly believe." The "organic form" of None Genuine Without This Signature develops from the numerological scaffolding of the book and from its "intrinsic patterns." Thus, "The final story looks back to the first one .... Indeed, most of the stories could be grouped as media folktales for they touch such familiar themes as promotion, pop music, baseball, and salesmanship."
C104 Grady, Wayne. Preface. In The Penguin Book of Canadian Short Stories. Ed. Wayne Grady. Harmondsworth, Eng.: Penguin, 1980, pp. v-vi, 258. The "most characteristic feature" of the Canadian short story as "a realism so intimate and natural that what it describes is often mistaken for real life"; and in fact Hood "has referred to certain of his stories as 'semi-documentaries.' In a sketch providing biographical and bibliographical information on Hood to 1979, Grady quotes John Orange's observation (C2) that Hood "'is closer to MacLennan, Garner, Grove, and, particularly, Callaghan than he is to the next generation of writers.'" But Grady emphasizes that "Hood is also a transitional figure; he was in at the very beginning of the Canadian short story's most recent renaissance."
C105 Kroetsch, Robert. The Crow Journals. Edmonton: NeWest, 1980, p. 59. Kroetsch offers an ironic picture of Hood, who in July 1976 came to teach prose writing at the Saskatchewan School of the Arts at Fort San in the Qu'Appelle Valley. Although Hood is extremely knowledgeable about baseball statistics and arrived with an enormous amount of baseball equipment, "He can't catch or throw or hit." But "He'll probably write a great sports novel."
C106 Macklem, Michael. "Seed Money." In Love and Money: The Politics of Culture. Ed. and introd. David Helwig. Ottawa: Oberon, 1980, p. 33. Macklem, who published nine books by Hood in the 1970s, remarks that "Like Raymond Souster, Hood came to us after long experience with various foreign companies, presumably seeking a publisher with more congenial objectives."
C107 Mills, John. Lizard in the Grass. Downsview, Ont.: ECW, 1980, pp. 132-33. In the Preface to a group of review-essays mainly about contemporary Canadian writers, Mills cites Hood, John Metcalf, Michael Ondaatje, and Margaret Atwood as novelists whose work, although not "world-class," "has interested and excited me."
C108 Sorfleet, John R. "Les Romanciers Quebecois: Le Fait Anglais." In Quebec Fiction: The English Fact [Journal of Canadian Fiction, No. 30 (1980)], p. 6. Hood is listed among a number of twentieth-century English-Quebec writers whose "work is integral to an understanding of the Quebec soul." Unlike Brian Moore, "Hood still lives in Quebec . . . and much of his work reveals a deep interest in Quebec concerns; however, he is not limited to a Quebec setting, as his Canadian New Age series is demonstrating .... " A New Athens "is set in Ontario, and future works may, step by step, cross the nation."
C109 Struthers, J. R. (Tim). "Hugh Hood." In Profiles in Canadian Literature. Vol. II. Ed. and foreword Jeffrey M. Heath. Toronto: Dundurn, 1980, pp. 81-88. Struthers draws attention to major autobiographical influences on Hood's writing: Roman Catholicism; his bicultural family background and residency in Toronto, Hartford, Montreal, and the Brockville area; and his literary and ideological background. Important literary models for Hood include Wordsworth and Coleridge, the Roman Catholic tradition, the epic tradition, and Proust and Powell. These comparisons "are grounded in specific relations -- in terms of vision, theme, structure, setting, narrative technique, imagery, or even phrasing--between Hood's works and their predecessors." Drawing on John Mills's analysis of Hood's "anagogical method" (C2), Struthers demonstrates how Hood's theory of emblems, his term "super-realism," and his term "documentary fantasy" provide three complementary perspectives on Hood's fiction. Particular praise is given to the subtlety of Hood's "handling of narrative point of view, time, and structure in the first trilogy ofThe New Age" and to the beauty and the intelligence of individual stories in None Genuine Without This Signature. Struthers includes a chronology of Hood's life, sections of comments by and on Hood, a bibliography of books by Hood from 1952 to 1980, and a list of selected criticism on Hood's writing. In the chronology, Hood's unfinished novel "The Beginning of Wisdom" should be dated 1952.
C110 Woodcock, George. "Literary Echoes: How the Historical Insights of Donald Creighton et al. Helped to Fuel the Creative Dreams of Canada's Authors." Books in Canada, March 1980, p. 8. Although Hood has noted persistently that The New Age/Le nouveau siecle emulates Proust, Woodcock argues--to the contrary--that Hood is "the great Balzacian" of Canadian fiction. As differentiated from the freer, more imaginative, Proustian approach, the Balzacian approach seeks "to rebuild painstakingly in the mind's eye the details of changing material life over a period."
C111 Cameron, Barry. "A Conversation with Kent Thompson." Essays on Canadian Writing, No. 17 (Spring 1980), p. 89. Thompson mentions the occasion when he wrote a story that "shifted point of view three times" and sent the story to Hood who then tried the same technique -- "quite successfully." A different way that one's contemporaries influence a writer is through "setting standards--which is what John Metcalf, Hugh Hood, Alice Munro, Ray Smith, and Maws Gallant have done for me."
C112 Mills, John. Rev. of The Resurrection of Joseph Bourne, by Jack Hodgins. West Coast Review, 15, No. I (June 1980), 39. Mills finds one major point of comparison between Jack Hodgins and Hugh Hood, a writer whom Hodgins "in no other way resembles." Both writers apparently "believe that the operation of Grace in human affairs is more entrancing than signs of the cloven hoof."
C113 Hancock, Geoff. "Pure Fiction: A Six Month Course in Fiction Writing." Canadian Author & Bookman, 55, No. 4-56, No. I (Summer-Fall 1980), 28. Hancock cites Hood in a list of fifty recommended short story writers: English-Canadian or French-Canadian, past or present.
C114 Keith, W. J., and B.-Z. Shek. "A Half-Century of UTQ." In The Arts in Canada: The Last Fifty Years [University of Toronto Quarterly, 50 (Fall 1980)], 146. Rpt. in The Arts in Canada: The Last Fifty Years. Ed. and preface W. J. Keith and B.-Z. Shek. Toronto: Univ. of Toronto Press, 1980, p. 146. Hood's Reservoir Ravine, Keith notes, contains "an imaginative portrait" of G. S. Brett, "the distinguished philosopher" who first edited the University of Toronto Quarterly when it began regular publication in October 1931.
C115 Pache, Walter. "English-Canadian Fiction & the Pastoral Tradition." Canadian Literature, No. 86 (Fall 1980), pp. 24-26, 27, 28. Hood has developed "Margaret Laurence's technique [as seen in 'The Perfume Sea'] of using the pastoral as a metaphor of psychological states." Two examples are Hood's stories "A Solitary Ewe" and "The Tolstoy Pitch," where "the protagonists are . . . confronted with idyllic 'epiphanies.'" Pache examines in detail Hood's story "Getting to Williamstown," in which pastoral functions at the additional level of allegory. In this story, "The desperate look back to an idealized past which is extinct merges with a vision of a promised land of hope just coming into view. The full significance of the idyllic village as 'heavenly place' (as it is once called) is never explicitly stated, but metaphorically suggested." "Getting to Williamstown" presents "a complex image of man's inescapable but forever unsatisfactory task of balancing ideal and reality .... The pastoral mode functions as a criticism of reality, just as reality modifies the pastoral dimension." Hood's story, therefore, might be described as "a prose elegy on the meaning of the pastoral dream in a tragic world."
C116 New, William H., and Doreen Ingrain. "Annual Bibliography of Commonwealth Literature 1979: Canada." The Journal of Commonwealth Literature, 15, No, 2 (Dec. 1980), 64, 81, 84. New remarks that "A certain kind of realism emerged in works that might be termed biographical fictions," including Reservoir Ravine, "the latest in Hugh Hood's magnum opus," along with Selwyn Dewdney's Christopher Breton, David Helwig's Jennifer, and works by Shirley Faessler and Ann Copeland. The article also provides selected bibliographical information on Hood for the year 1979.
C117 Bonheim, Helmut. "Topoi of the Canadian Short Story." Dalhousie Review, 60 (Winter 1980-81), 665, 666-67. Bonheim seeks to answer the question "what distinguishes the Canadian short story from other short stories?" Two stories by Hood are cited in a discussion of the technique of endings.
C118 Struthers, J. R. (Tim). "Thinking about Eternity.'" Rev. of The Resurrection of Joseph Bourne, by Jack Hodgins. Essays on Canadian Writing, No. 20 (Winter 1980-81), pp. 129-30. The works of both Hugh Hood and Jack Hodgins exemplify, "though in clearly different manners," a combination of elements from nineteenth- and twentieth-century fiction. The genius of Dickens and the vision of Tolstoy "are now clothed in the accoutrements -- inconspicuous in Hood, more pronounced in Hodgins--of modern narrative techniques or styles."
C119 Gerson, Carole, and Kathy Mezei. Introduction. In The Prose of Life: Sketches from Victorian Canada. Ed. Carole Gerson and Kathy Mezei. Downsview, Ont.: ECW, 1981, pp. 3, 13. Gerson and Mezei quote Hood's observation that Stephen Leacock's Sunshine Sketches of a Little Town and Hood's own Around the Mountain: Scenes from Montreal Life" 'are both sketch books in the nineteenth-century tradition.'" The nineteenth-century Canadian sketch is viewed "as a transitional genre" pointing not only in the direction of "the modern tradition of documentary writing" (for example, Michael Ondaatje's The Collected Works of Billy the Kid: Left Handed Poems and James Reaney's Donnelly trilogy), but also "towards the serial writing of Emily Cart, Stephen Leacock, Alice Munro, Clark Blaise, Jack Hodgins, and Hugh Hood, all of whom focus on the events, customs, and characters of a particular time and place." Furthermore, like early Canadian sketches, parts of a number of these twentieth-century documentary and serial works "were first published separately in magazines and then gathered into collections in which unity is loosely achieved through repetition of place, character, theme, or narrative voice."
C120 "Hood, Hugh (John Blagdon) 1928- ." In Contemporary Authors: A Bio-Bibliographical Guide to Current Writers in Fiction, General Nonfiction, Poetry, Journalism, Drama, Motion Pictures, Television, and Other Fields. New Revision Series. Vol. I. Ed. Ann Evory. Detroit: Gage, 1981, 278. Contains biographical and bibliographical information to 1980, a note on Hood's work in progress, Hood's brief comment on The New Age/Le nouveau siecle previously quoted in Contemporary Authors (C57), and a new comment by Hood.
C121 "Hood, Hugh (John Blagdon)." In The Writers Directory 1982-84. Byfleet, Eng.: Macmillan, 1981, p. 454. Detroit: Gale, 1981, p. 454. Bio-bibliographical information to 1980.
C122 Jones, Joseph, and Johanna Jones. Canadian Fiction. Twayne's World Authors Series, No. 630. Boston: G. K. Hall, 1981, pp. [13], 50, 76, 78, 80-82, 106, 134. Hood's Flying a Red Kite is cited in this volume's "Chronology," a listing which is intended to indicate, for the most part, the first appearances of authors whose works represent shifts in literary direction or are otherwise historically significant. Remarks in Hood's The Swing in the Garden on Stephen Leacock's Sunshine Sketches of a Little Town are quoted. Mordecai Richler and Hood are linked as "Two writers of very considerable output . . . closely associated with Montreal," although the authors note that Toronto also figures as a background in Hood's work. A Game of Touch and The Swing in the Garden are discussed briefly. About The New Age/Le nouveau siecle, the authors remark, "One hopes that if indeed the twelfth novel of the series appears in or near the year 2000, when Hood will be 72, a very special party will occur on the day of its publication (in whatever format the written word by then may take)."
C123 Moss, John. "Bushed in the Sacred Wood." In The Human Elements. 2nd ser. Ed. and introd. David Helwig. Ottawa: Oberon, 1981, pp. 166-67. Moss objects to how reliance on "so-called thematic criticism" has often led teachers of Canadian literature to resort to "schematic generalization" instead of genuine "aesthetic judgment." One deplorable result of this situation is that "the novels of Mavis Gallant and Hugh Hood are consigned to limbo, beyond schematic rhetoric, outside the proscriptive tradition."
C124 Moss, John. A Reader's Guide to the Canadian Novel. Toronto: McClelland and Stewart, 1981, pp. 132-37, 278,353,354, 355, 356, 358, 360, 366, 367, 370, 371, 373,377, 378, 379. Moss presents short commentaries on White Figure, White Ground and You Cant Get There From Here, two novels that he analyzed at greater length on previous occasions (C52 and C76). Examining White Figure, White Ground from the viewpoint of "fictional realism," Moss finds the uses of characterization and setting in the novel "conventional," "rather awkward," and "uninspired," and concludes that "The allegorical intent and the narrative realism in this novel do not always seem compatible." White Figure, White Ground suffers- like Hood's other early novels except for You Cant Get There From Here--from "the problem of integrating idea with art." About Hood's The New Age/Le nouveau siecle, Moss comments that "none" of the series' first three novels "has a narrative shape or structure." Moss speaks of "the appalling arrogance" of the trilogy, of "the suffocating presence of Matt Goderich," and of Hood's "overwhelmingly and disarmingly inflated. . .public estimate of himself." Nonetheless, the trilogy "reveals... a marvellous talent struggling to emerge." Novels by Hood are included under various categories in the Appendices.
C125 Woodcock, George. "To Hugh [H]ood." In his Taking It to the Letter. Montreal: Quadrant, 1981, p. 36. Woodcock urges Hood to stop encouraging his students to request books for review in Canadian Literature. Following two disappointments, Woodcock has decided to ignore further appeals of this kind.
C126 Richler, Mordecai. "Hockey Needs More Punch." Sunday Star [Toronto Star], II Jan. 1981, Sec. Perspective, pp. BI, B5. Rpt. ("What Hockey Needs Is More Violence") in Inside Sports, 31 Jan. 1981, pp. 20-21, 23, 24-25. Richler satirizes the serious, reasonable, and definitive-sounding tone with which Hood propounds the radical psychological and sexual interpretation of hockey present in a group of eighteen paintings by Seymour Segal: "After Scoring, nothing will ever be the same again. Hockey is no longer seen through a glass darkly. Instead, its very essence has been illuminated."
C127 Brydon, Diana. "A New Athens and a New Jerusalem." ACUTE, Dalhousie Univ., Halifax. 22. May 1981. 15 pp. Printed (revised--"Tradition and Post-Colonialism: Hugh Hood and Martin Boyd") in Mosaic: A Journal for the Interdisciplinary Study of Literature, 15, No. 3 (Sept. 1982), 1-15. Brydon discusses two uncompleted novel cycles: the first three volumes of Hood's The New Age/Le nouveau siecle, particularly A New Athens, and Australian Martin Boyd's "Langton tetralogy," especially The Cardboard Crown. Although the writers' aims and achievements are "not identical," both "seek to find the heavenly city in their own colonial worlds"; both believe "in the unity of morals and aesthetics"; and both have been strongly influenced by Marcel Proust. Also, in both A New Athens and The Cardboard Crown, religious paintings "provide visionary counterperspectives to the reasoning of the two narrators" and "bring us to the heart of both works: the tension between exploration and revelation in human creativity." Following a comparison of Elstir's painting Carquethuit Harbour, in Proust, and Mrs. Codrington's painting The Stoverville Annual Regatta, in A New Athens, Brydon questions the extent to which Hood has developed his cultural inheritance, has created a consistently Canadian style, or has confronted the problem of evil.
C128 Wayne, Joyce. "ECW: Scholarly Publishing's Young Turk." Quill& Quire, Oct. 1981, p. 26. In this profile, Wayne relates how Jack David and his partner, Robert Lecker, came to publish fiction by John Metcalf and Hugh Hood.
C129 Herlan, James J. "The Montreal Canadiens: A Hockey Metaphor." Northeast Council for Quebec Studies, Yale Univ., New Haven, Conn. 2 Oct. 1981. 14 pp. Printed in Quebec Studies, I, No. I (Spring 1983), 96-108. Herlan examines the legend of the Montreal Canadiens from the different perspectives of Les Canadiens, a play written by Rick Salutin with the assistance of Ken Dryden, and Strength Down Centre, Hood's biography of Jean Beliveau. In contrast to the explicitly political terms of Salutin's play, Hood's biography "explores the deeper cultural implications of the Canadiens' legend." "Although Strength Down Centre: the Jean Beliveau Story is technically a work of non-fiction, Hood's fictional techniques are evident throughout the text, "particularly in his skilful presentation of Jean Beliveau "as an epic figure," "as an authentic folk hero" with "strong moral attributes," and as a sort of biblical Benjamin. After noting the sense of social and religious community that Hood perceives in Canadian life, Herlan draws specific attention to the frequent "interplay between the secular world of ice hockey and the spiritual realm of the Church" in Hood's biography and different journalistic sources.
C130 Grady, Wayne. "Story Tellers to the World: Canadian Short Story Writers Are Producing the Literature of the 21st Century." Today [The Toronto Star], 5 Dec. 1981, p. 12. The Canadian short story "rose like a phoenix in the early 1960s." Cumulatively, Gabrielle Roy's Street of Riches (trans. 1957), Malcolm Lowry's Hear Us 0 Lord from Heaven Thy Dwelling Place (1961), Norman Levine's One Way Ticket (1961), and Hugh Hood's Flying a Red Kite (1962) "saved the Canadian short story." However, "Because Lowry was dead and Levine had been living in England since 1949, it was Hood's book that came to be thought of as bringing the kiss of life to the Canadian short story."
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C187 Findley, Timothy. "Interview with Hugh Hood." The Best Ideas You'll Hear Tonight. CBC Radio, 18 Feb. 1966. Timothy Findley talks about and to Hood.
C188 McNeil, Bill. "Interview with Hugh Hood." Assignment. CBC Radio, 14 Sept. 1967. Hood discusses publishing in Canada and Canadian authors with Bill McNeil.
C189 McNeil, Bill. "Interview with Hugh Hood." Assignment. CBC Radio, 25 Sept. 1967. Hood discusses his purpose as a writer in Canada and the circulation of Canadian books in the world market.
C190 Hutchinson, Helen. "Interview with Hugh Hood." Matinee. CBC Radio, 22 Jan. 1969. Hood discusses his work habits and how he can both write and teach at the Universite de Montreal. He says that every writer has a "message" of some sort and that the problem is to believe your own message. He says that he prefers writing novels, because they are more difficult, and he criticizes Canadian critics and educators for not making more of Canadian writers.
C191 Fulford, Robert. "Interview with Hugh Hood." This Is Robert Fulford. CBC Radio, 12 Oct. 1970. Hood talks with Fulford about A Game of Touch, which dwells on the crisis in French Canada. One of the main characters in the book, a professor, is patterned on Pierre Trudeau. Hood also discusses the difficulties of getting published in Canada.
C192 McCormick, Marion. "Interview with Hugh Hood." CBC Tuesday Night. CBC Radio, 17 Nov. 1970. Hood is interviewed by Marion McCormick about A Game of Touch.
C193 Fulford, Robert. "Interview with Hugh Hood." This Is Robert Fulford. CBC Radio, 9 Sept. 1972. Hood talks with Fulford about You Cant Get There From Here.
C194 Brown, Harry. "Interview with Hugh Hood." The Scene. CBC Radio, 7 Oct. 1972. Hood discusses You Cant Get There From Here with Harry Brown.
C195 "City Soundscape." Ideas, CBC Radio, 7 Nov. 1972. A collage of sound, music, poetry, and speech projecting the image of the city of Montreal. Includes Hood and Don Bell talking about Montreal.
C196 Anderson, Allan. "Aspects of the Canadian Novel." Interviews with Margaret Atwood, Harry Boyle, Morley Callaghan, Robertson Davies, Marian Engel, Sylvia Fraser, Lawrence Garber, Hugh Garner, Graeme Gibson, Dave Godfrey, Hugh Hood, Margaret Laurence, Gwendolyn MacEwen, Hugh MacLennan, W. O. Mitchell, Alice Munro, and Sheila Watson. Anthology. CBC Radio, 4 Nov. 1972. (1 min.) Part I of a seven-part series. Anderson interviews Hood and other Canadian novelists and short story writers about their approaches to writing and their work habits. Hood's comments compose one minute of Part I.
C197 Anderson, Allan. "Aspects of the Canadian Novel." Interviews with Margaret Atwood, Ross Beharriel, Morley Callaghan, Robertson Davies, Cecil Day-Lewis, Robert Fulford, Roy Fuller, Dave Godfrey, David Helwig, Hugh Hood, Desmond Pacey, et al. Anthology. CBC Radio, 18 Nov. 1972. (4 min.) Part III of a seven-part series. In a four-minute segment of Part III, David Helwig and Hood give outsiders' viewpoints of Canadian fiction. They say that they have no sense of Canadian tradition but enjoy the works of Robertson Davies and Morley Callaghan, respectively.
C198 Anderson, Allan. "Aspects of the Canadian Novel." Interviews with Margaret Atwood, Clark Blaise, Morley Callaghan, Hugh Garner, Hugh Hood, Douglas Le Pan, Norman Levine, Gwendolyn MacEwen, John Metcalf, Alice Munro, Michael Ondaatje, Desmond Pacey, P. K. Page, David Lewis Stein, Kent Thompson, and Tom Wayman. Anthology. CBC Radio, 9 Dec. 1972. (2 min.; 3 min.; 1 min.) Part VI of a seven-part series. In a two-minute segment of Part VI, Hood discusses the problems of characterization and presentation and sees no discontinuity between the novel and the short story. John Metcalf discusses Hood's Flying a Red Kite as the cornerstone of modern Canadian short stories and says that his own tastes lie in contemporary writers. In a one-minute segment of Part VI, Hood's "Whos Paying for This Call" is listed by Metcalf among the best Canadian short stories.
C199 Therrien, Gilles, Marcel Cocho, et al. Reachin Forth. Dir. Gilles Therrien. Prod. Centre audio-visuel de l'Universite de Montreal, 1973. (Videotape; 47 min.) This videotape by four Universite de Montreal students contains shots of Hood in a university classroom and playing hockey at a rink in Laval, along with Cocho's twenty-minute interview with Hood in the living room of Hood's home, a five-minute appreciation of Hood's work by Clark Blaise in Hood's kitchen, and a reading by Hood of his story "Boots" at the Centaur Theatre. The videotape is stored at the Universite de Montreal's Centre audiovisuel under the title Le Romancier Hugh Hood. The director's title for the videotape is Reaching Forth. Although it may normally only be borrowed by students and professors at the Universite de Montreal, requests from other individuals may be sent to: Centre audiovisuel, Direction de la programmation, Universite de Montreal, C.P. 6128, succursale "A," Montreal, Quebec, H3G 3J7.
C200 Quebec Now. CBC Radio, 15 May 1973. A collage of opinions regarding the Montreal Canadiens' "social impact." Hood discusses animosity towards the club's administration.
C201 Quebec Now. CBC Radio, 9 Oct. 1973. Hood speaks of the politicizing of sport in Quebec, the hatred of Molsons as owners of the Canadiens, and Wasp prototypes.
C202 CBC Tuesday Night. CBC Radio, 28 Jan. 1975. A program on African poet, composer, novelist, and performer Francis Bebey includes conversations with Hood on various subjects including writing and composing. Bebey talks to Hood about his childhood in the Cameroons. Bebey and Hood discuss the former's two prize novels Agatha Moudio's Son and The Ashanti Doll. Hood asks Bebey about colonization and colonialism.
C203 Tata, Sam. "Hugh Hood, Montreal 1972." Canadian Fiction Magazine, No. 29 (1979), [p. 59]. One of fifty portraits of Canadian writers by Sam Tata in a special issue devoted to his photography and including essays on Tata's art by Geoff Hancock and Hugh Hood (B101).
C204 Duffy, Dennis. "Golden Dogs and Ghostly Villages." Ideas. CBC Radio, 11 Nov. 1980. The concluding program of Dennis Duffy's four-part series on Canadian historical fiction includes comments selected from an approximately 45-minute interview with Hood. A tape recording of the original interview is in Duffy's possession.
C205 Bickerstaff, Isaac [Don Evans]. "Hugh Hood -- Dark Glasses." In his "A Caricature Gallery of Literary Masters." The Tamarack Review, Nos. 83-84 (Winter 1982), [p. 44]. One of twenty caricatures by Bickerstaff commemorating English- and French-Canadian writers.
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C208 Numerous citations in "The Yearbook of the American Short Story" under "Roll of Honor" and "Distinctive Short Stories in American Magazines" for short stories published in 196I, 1962, 1964, 1965, 1966, 1967, 1968, 1969, 1972, and 1974.
C209 "The End of It" (B11) awarded the President's Medal, University of Western Ontario, London, Ontario, for the short story category (1963).
C210 Flying a Red Kite (A8) awarded the Women's Canadian Club of Toronto literary award (1963).
C211 White Figure, White Ground (A1) awarded the Beta Sigma Phi Award for the best first novel by a Canadian (1965).
C212 "It's a Small World" (B75, B76, B31) awarded the President's Medal, University of Western Ontario, London, Ontario, for the general article category (1968).
C213 Canada Council Short Term Grant (1968-69).
C214 Canada Council Arts Award (1970-71).
C215 Province of Ontario Council for the Arts Award (1974). Award shared with Alice Munro.
C216 Canada Council Senior Arts Grant (1974-75). Declined.
C217 City of Toronto Book Award for The Swing in the Garden (A5) (1976). Award shared with Robert F. Harney and Harold Troper, authors of Immigrants: A Portrait of the Urban Experience, 1890-1930.
C218 The Queen's Jubilee Medal (1977).
C219 Canada Council Senior Arts Grant (1977-78).
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[underbar]
C1 Lafon, Marianne. The Writer as Communicator. Montreal: Privately printed, 1973. 35 pp. Lafon's monograph introduces Hood and You Cant Get There From Here. "The novel is about communication, between people, politicians and the great power blocs. It also deals with the importance of specific communications systems such as spy and radio networks. It is, of course, also (as all novels are) about how an author attempts to communicate with you, the reader." The monograph contains quotations by a variety of writers on the Novel and Art, a short commentary by Lafon on the history and theories of the Novel, a bio-bibliographlcal sketch of Hood to 1972, an interview with Hood (C158), a study-grade to You Cant Get There From Here listing twenty-five discussion headings, a copy of Robert Fulford's review (D50) of the book in The Montreal Star, and illustrations. An accompanying videotape is available through Professor Marianne Lafon, The Department of Communications Studies, McGill University, Montreal, Quebec.
C2 Hugh Hood's Work in Progress [Essays on Canadian Writing, Nos. 13-14 (Winter-Spring 1978-79)]. 294 pp. Rpt. Before the Flood: Our Examination round His Factification for Incamination of Hugh Hood's Work in Progress. Ed. J. R. (Tim) Struthers. [Perspectives on Canadian Literature, No. I.] Downsview, Ont.: ECW, 1979. 294 pp. Read (excerpts--Blandford, Lecker, Mathews, Mills, and Orange) in Hugh Hood Symposium, Stong College, York Univ., Downsview, Ont. 18-19 Oct. 1979.
A special issue devoted to Hood, published simultaneously as a critical study. Hood's contribution, "Before the Flood," is listed separately in Section B (B100).
The critics include Patrick Blandford, "Hood a la mode: Bicultural Tension in the Works of Hugh Hood," pp. 145-70; Dennis Duffy, "Space/Time and the Matter of Form," pp. 131-44; Robert Lecker, "A Spirit of Communion: The Swing in the Garden," pp. 187-210 (rpt. [excerpts] in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Vol. xv. Ed. Sharon R. Gunton and Laurie Lanzen Harris. Detroit: Gale, 1980, 286-88); Lawrence Mathews, "The Secular and the Sacral: Notes on A New Athens and Three Stories by Hugh Hood," pp. 211-29; John Mills, "Hugh Hood and the Analogical Method," pp. 94-112; John Orange, "Lines of Ascent: Hugh Hood's Place in Canadian Fiction," pp. 113-30; J. R. (Tim) Struthers, "A Bibliography of Works by and on Hugh Hood," pp. 230-94, and "An Interview with Hugh Hood," pp. 21-93; and George Woodcock, "Taming the Tiger of Power: Notes on Certain Fictions by Hugh Hood," pp. 171-86 (rpt. [revised] in his The World of Canadian Writing: Critiques & Recollections. Vancouver: Douglas & Mclntyre, 1980, pp. 79-92).
Blandford discusses the treatment of bicultural tensions throughout Hood's work, then considers two essays from The Governor's Bridge is Closed along with Strength Down Centre: the Jean Beliveau Story, and concludes with a detailed analysis of A Game of Touch and a brief commentary on You Cant Get There From Here. "Whenever possible," Blandford argues, "bicultural tensions are resolved through an acceptance of the obligations of a larger social contract which becomes a symbol for Hood's vision of a united Canada." However, the progression of Hood's writing "has shown a deepening insight into the genesis of these tensions, an increasing awareness of the difficulty of resolving them, and a corresponding maturation in his artistic techniques of presenting them."
Duffy seeks "to show a pattern" in Hood's writing -- not, he emphasizes, to supply "some kind of paradigm of the author's imaginative life." In You Cant Get There From Here, Duffy argues, Hood adopted the narrative conventions of the thriller, but failed to develop them fully. The form of A New Athens or The New Age/Le nouveau siecle in general, which "uses the patterns of autobiographical reminiscence to construct an essentially poetic account of the development of a sensibility," is open to certain dangers. "This grand synthesizing effect," Duffy concludes, "can through its impetus engorge and assimilate too much material in too undifferentiated a fashion."
Lecker argues that The Swing in the Garden "marks an innovative high point in Canadian fiction." Hood "is 'new' precisely because he is so old-fashioned in his belief that. . . the artist can learn, by contemplating the forms of the divine in the daily, to connect objects and events existing in various times and places in such a way that a meaningful explanation of life will emerge." Lecker's densely textured analysis of The Swing in the Garden's "formal structure" examines "four different aspects of communion: aesthetic, communal, communicative, and spiritual" which Hood's book comprehends.
Mathews argues that Hood's fiction must be read not simply in terms of ordinary realism or psychology, but with a Christian context in mind. In the three stories which Mathews discusses, along with the other stories in Dark Glasses, "Character and incident function. . . in such a way as to reveal how human actions imitate or parody the greater actions of God." In a similar manner, A New Athens "demonstrates how Divine Grace enters the postlapsarian world through the sacramental union of Matt and Edie." Mathews observes that "A New Athens is ordered by means of a clear biblical structure. Chapter I corresponds to Genesis, Chapter 2 to the prophetic books, Chapter 3 to the Gospels, Chapter 4 to the Book of Revelation."
Mills examines Hood's own statements concerning his aesthetics in relation to the function of key "static images" in "Flying a Red Kite," White Figure, White Ground, and A New Athens. To Mills, the aesthetic implied by Hood's use of "static images" has "less to do with Romanticism than with a much older tradition -- the 'anagogical' approach to art documented by the so-called Neoplatonists and in particular by the Pseudo-Dionysus" and discussed by Erwin Panofsky in Meaning in the Visual Arts. The anagogical method has served Hood well in his short fiction; but, "up until A New Athens, the method is diluted in the novels by what seems like Hood's reluctance to accept fully the implications of his own approach to art." In A New Athens, however, "the anagogical method . . . is brought very close to perfection."
Orange discusses Hood's writing in the context of Canadian fiction since the 1920s, and in the especially illuminating context of the thought of Jacques Maritain. Hood's handling of diction, characterization, symbolism, and tone are related to Hood's basic purposes in his fiction. Yet Hood's failure to change the tone at certain points in his longer fiction leaves the reader with a confused perspective. Orange identifies "three kinds of stories" which are typical of Hood's work: a conventional kind; an overtly experimental kind and a third kind, which Hood appears to have found "the most useful to him for his voice and his purposes." Orange traces the development of this third, "loosely integrated form" from some early stories in Flying a Red Kite to The New Age/ Le nouveau siecle.
Struthers' bibliography of works by and on Hood has been revised and enlarged for the present publication. Item B199 from this bibliography was incorrectly added and should be disregarded.
Struthers' interview includes extensive commentary by Hood on his own art and thought, ranging over a twenty-five year period from his Ph.D. dissertation and his early efforts at novel-writing to the first trilogy of The New Age:: Le nouveau siecle. Many literary figures of importance to Hood are discussed. Hood also clarifies and expands on his earlier use of the terms "superrealism" and "documentary fantasy" in relation to his own work.
Woodcock is concerned with the "relation between occupation and power, and with the various levels on which power operates" in Hood's The Camera Always Lies, A Game of Touch, and You Cant Get There From Here. Yet Woodcock also comments succinctly on the modes and the structures of these three "fictions." By way of conclusion, Woodcock focuses on "the relationship between power and order" as seen in the three fictions, and observes that, for Hood, while "a pattern of moral balances" or "an accepted moral order" can control "the abuse of power in personal relationships" or turn political power to positive ends, nevertheless, "when power ceases to be related to the sense of order, . . . then it is entirely negative in its consequences."
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C206 Parker, Morten, adapted and dir. The Red Kite. Prod. Guy Glover. National Film Board, 1965. The cast includes Ann Butler, George Carron, Henry Hovenkamp, Daphne Kiperchuck, Madeline Kronby, Michael Learned, John Paris, Frank Perry, and Rex Sevenoaks. In 1969, The Book Society of Canada published the text of Morten Parker's film along with a commentary by Leonard Peterson (C15).
C207 Jack, Donald, adapted. "Moving Day." Dir. Tony Perris. Prod. David Peddie. To See Ourselves: Canadian Short Stories. CBC TV, 2 Dec. 1971. The cast includes Ted Follows, Louis Zorich, and Arlene Meadows.
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C136 "Author of New Book Spends His Summers Here." The Recorder and Times [Brockville, Ont.], 6 Nov. 1962, pp. 3, 5. This article provides some biographical information about Hood and his wife, Noreen Mallory of Brockville. Hood was born in Toronto to a French-Canadian mother and a Nova Scotian father. His wife is the daughter of Mrs. Jean Mallory, formerly a local realtor in Brockville, and of Dr. Dwight Mallory. The Hoods had been living in Brockville each summer and have continued to return to the Brockville area.
C137 "Hugh Hood, Montreal Author Son of Shelburne Native." Coast Guard [Shelburne, N.S.], 30 Dec. 1964, n. pag. This article supplies a variety of biographical information, some of which is of local interest and pertinent to White Figure, White Ground. Hood was born in Toronto and educated at De LaSalle College and the University of Toronto. "His father was Alex Hood born in Shelburne, N.S., and his mother is the former Margaret Blagdon of Toronto. His grandfather, John Hood, was a Q.C. and Shelburne's first Mayor when they incorporated as a town in 1907. His grandfather owned and edited the Gazette from 1902 to 1913. His wife is Noreen Mallory, Brockville, Ont., who was a costume designer for the CBC before her marriage."
C138 Balfour, Lisa. "Canadian Author in Search of His Heritage." The Montreal Star, 19 June 1965, Sec. Entertainments, p. 6. Balfour incorporates a number of comments by Hood about his own work, other writers, and the Canadian literary scene. Hood discusses his ideas for a series of descriptive sketches about Montreal, which were published under the title Around the Mountain: Scenes from Montreal Life, and, after supplying some information about his mother's reaction against her French-Canadian identity, states that he moved to Montreal "to get back the heritage which mother reacted against." Balfour also includes remarks by Hood about White Figure, White Ground and his novel in progress, which was published under the title The Camera Always Lies. Hood has high praise for Morley Callaghan, particularly Callaghan's four-page story "The Blue Kimono." Hood speaks of Callaghan and Hugh MacLennan as two of the few Canadians "who have completed what the French call an 'oeuvre.'"
C139 Cobb, David. "Did You See." Toronto Daily Star, 2 Sept. 1965, Sec. 2, p. 22. Cobb cites June Callwood's interview with Hood and other individuals on the television program "Generation" about the subject of "relations between the younger and older generations in Quebec."
C140 Kattan, Naim. "Les Ecrivains canadiens-anglais et la culture canadienne-francaise." Le Devoir, 31 mars 1966, Sec. Supplement Litteraire, p. 38. Rpt. trans. Joyce Marshall ("Montreal and French-Canadian Culture: What They Mean to Enghsh-Canadian Novelists") in The Tamarack Review, No. 40 (Summer 1966), pp. 50-51. In this article Hood replies to questions about the Frenchness of Montreal and about whether this feature or French-Canadian literature has influenced his own writing. "Montreal seems to me very distinctly a French city in all its most interesting parts," Hood comments. This characteristic "has a direct and immediate effect on my work," most notably on his current work in progress, "a series of semi-fictional story-memoirs" which were eventually entitled Around the Mountain: Scenes from Montreal Life, and which, Hood notes, "are modelled on Turgenev's Sportsman's Sketches." Hood observes that there are many analogies in French-Canadian literature for predicaments or quarrels in English-Canadian writing. Hood considers French-Canadian poetry "the best work in the literature," praises some of the dramatists, and is "not much impressed by the fiction." Hood's comments in The Tamarack Review include an additional introductory paragraph. For Kattan's comments see C9.
C141 Taylor, Bruce. "Montreal Days and Nights." The Montreal Star, 16 June 1967, Sec. I, p. 4. Taylor quotes Hood's reply to an earlier comment by Taylor about Around the Mountain: Scenes from Montreal Life (D255).
C142 Morgan, John. "Hugh Hood." The Montrealer, Sept. 1967, pp. 28, 32. Morgan's profile contains comments by Hood on his publishing career, his daily life as a teacher and writer, and the different feelings which a book and a movie give. Hood describes The Camera Always Lies as "a very philosophical book" which "probes the nature of violence in modern life" and in which he tries "to yoke the structure of the movie media together with the meaning of violence at the present time." He also discusses his ideas for "a book using fiction technique about life styles. . . a kind of fictionalized sociology" which became his next novel, A Game of Touch.
C143 McKenna, Brian. "About Photos: Writer Hits Old Maxim." The Montreal Star, 29 Jan. 1968, Sec. 3, p. 45. McKenna quotes a few comments about the teaching of literature which Hood made in an address to a meeting of English teachers from across Quebec held at the Universite de Montreal. In answer to the question why literature should be taught in the schools, Hood replied: "Because it is a fine art," and "Because it is intrinsically valuable as a repository of human culture. In other words, apart from the derived benefits, it is worthwhile in itself."
C144 Richmond, John. "Conference at SGWU: Revolt Rips Writer's Rally." The Montreal Star, 26 Sept. 1969, Sec. I, p. 18. Richmond reports on antagonism to the attempt by the Association of Teachers of English in Quebec to organize a Quebec Writers conference in conjunction with its annual general meeting at Sir George Williams University. For Hood, "All universities are potentially repressive structures because their administration is not directly responsible to the people .... In essence, although they do not expressly aim to be, they are non-democratic and anti-art organizations."
C145 Richmond, John. "Reporter Gets Two Minutes for Heresy: Book on Beliveau Faced-Off." The Montreal Star, 13 Feb. 1970, Sec. 4, p. 44. Richmond incorporates some remarks made to him by Hood about hockey, about the relationships among sports, ritual, and the arts, about Hood's motives for writing Strength Down Centre: the Jean Beliveau Story, and about Jean Beliveau. "Sports," Hood argues, "are just as important as the arts." Hood's "favourite sport," hockey, combines "physical euphoria, shrewd craft, and sportsmanship," and is "The Canadian game par excellence, .... a solidly unifying force in this country."
C146 Terroux, Gilles. "Le Romancier Hugh Hood a toujours vu jouer Jean Beliveau de la derniere rangee du Forum." La Presse [Montreal], 13 fev. 1970, Sec. 2, p. 20. This interview records a number of Hood's opinions and memories about hockey.
C147 Beker, Marilyn. "Hugh Hood--'Reality Is Only What You Believe.'" The Gazette [Montreal], 4 July 1970, Sec. 4, p. 42. In this profile Beker quotes a number of comments by Hood about heroism, sport, the importance of fantasy, Turgenev and Proust, Callaghan, and his own writing. Hood discusses his mythic treatment of Jean Beliveau in Strength Down Centre: the Jean Beliveau Story, refers to the use of sport -- jousting and walking about the countryside -- in Spenser and Wordsworth, respectively, and emphasizes that "Everything in heroic drama involves physicality." Hood also remarks that "There is no such thing as 'real life.' People who are puritanical would like to make us think that it is solid, grey, stable, sturdy. But real life is only what you want to believe it is."
C148 Swaine, Mary. "A Game of Touch." The McGill Daily [Montreal], 11 Dec. 1970, Sec. The Supplement, p. II. From a telephone conversation with Hugh Hood about A Game of Touch, Swaine reports Flood's comments on Fellini, fantasy, national identity and myth, the religious significance of history and society, the conscientiousness of Canadians, and Quebec. Hood expresses his "sense of kinship with Fellini," who combines realism and fantasy and "turns ordinary appearances into nightmares." Myths and heroes are important to a national identity; fantasy or imagination is an essential part of everyone's life; and writers "give people something they can fantasize about," such as "an interest in Canadian life." Storytelling also helps us to recognize the ultimately religious significance of history and society.
C149 "Some People You Know Look Ahead - and Back." The Gazette [Montreal], 26 Dec. 1970, SAec. 4, p. 27. Hood offers his best wishes for 1971 to the Canadian little presses.
C150 "Weekend Asked Seven Canadians What They Thought of 1970. The Consensus: It Was NOT a Very Good Year." Weekend Magazine [The Montreal Star], 2 Jan. 1971, p. 14. Hood considers "disappointment a weak-kneed and defeatist attitude," and states that he is never disappointed but is sometimes surprised when his expectations from other people go unrealized. He observes that "Plainly the most distressing series of events in Canadian life in 1970 was what happened in Quebec in the weeks after Oct. 5, culminating in the murder of Mr. Pierre Laporte." However, Hood warns against allowing "our sharp sense of the wrongs our society commits" to cause us to adopt repressive measures. "We must continue to be open, free, and brave. And just."
C151 Beker, Marilyn. "Montreal Storytellers: Now It's Rent-an-Author." The Gazette [Montreal], 9 Jan. 1971, Sec. 4, p. 32. Beker describes the formation of "Montreal Storytellers," a performance group of five Montreal writers including Hugh Hood, John Metcalf, Clark Blaise, Raymond Fraser, and Ray Smith, which Hood calls "the first genuine movement in English-speaking literature in 20 years."
C152 "Montreal Is People/Hugh Hood Author, Teacher, Father, Athlete." The Gazette [Montreal], 6 March 1971, Sec. 1, p. 7. In this interview Hood frankly answers questions about his family life and about his attitudes towards assorted private and public matters. Concerning the issue of separatism in Quebec, he observes that "Geographic and economic separatism is impossible," but thinks that "Political separatism might well be a very good thing." "Bilingualism," he notes, "can't be capitulated." Hood also says, "We in Canada should seize the opportunity to have one literature in two languages. Literature should embrace the whole culture." Hood speaks of the enjoyment that he derives from participating in The Montreal Storytellers, whose first performance was in Rosemere on 2 February 1971 and lasted three hours. Hood's biggest challenge is "to write a great novel," which he considers to be "one of the major achievements of mankind, like a great cathedral."
C153 Rix, Beverley, and Ron Grantham. "A Novelist on Novels--and His Criteria." The Saturday Citizen [The Citizen] [Ottawa], 19 June 1971, Sec. 3, p. 35. Among the remarks by Hood quoted in this article are statements that "Great books are scriptural," that his central belief is "Life is full of allegory -- of God," and that Montreal is "a natural allegory," an icon. A comparison is made between Hood's works and Morley Callaghan's, and comments by Hood about Callaghan's Such Is My Beloved, They Shall Inherit the Earth, and The Loved and the Lost are included. The article mentions Hood's plan to write "a long chronological novel about the meaning of Canadian society." Hood's working title for the novel is Fin de Siecle and its "action will encompass about 80 years, concluding in 2000 AD."
C154 MacFarlane, Elizabeth. "In City to Promote New Book: Author Hugh Hood Discusses His Writing Ambitions." The Recorder and Times [Brockville, Ont.], 28 Oct. 1971, p. 9. Hood states that much of The Fruit Man, The Meat Man & The Manager deals "with what a person has to do to be saved." Hood also notes that the description of Roger Talbot in A Game of Touch is reminiscent of Pierre Laporte not Pierre Trudeau, and he speaks of the importance of the sound of prose and the importance of having titles "rooted in concrete actuality." MacFarlane's article concludes with a discussion of Hood's plan to write "an encyclopedia of novels which he refers to as 'a stretched out Ulysses'" and which "will encompass 'the new age,' the time after the First World War, what it is like to live here now and in the next century."
C155 Hale, Victoria G. "An Interview with Hugh Hood." World Literature Written in English, II, No. I (April 1972), 35-41. Hood argues that the tradition of dream vision, allegory, pastoral, romance, epic represents "the centre of English literature," and that his own writing, including his use of names, is "in the tradition of allegorical writing from The Faerie Queene forward." "I see myself as a Canadian artist," Hood says, "in the sense that I am helping to provide the country with its most meaningful self-expression," that is "helping to develop the Canadian literary myth," which is done more through some "long narrative form of art" like "Homeric narrative, epic cycle." "The short story," he continues, 'is really only just a part -- just like the parts of an epic cycle, the short stories about Diomedes or Ulysses that group themselves around the main narration." Great literary art, Hood adds, deals with "the rights and wrongs of action," and is "a recommendation to virtue." The heroes in his own writing, therefore, are "emblems of good conduct." Hood refers to Wordsworth as "my greatest literary influence" and speaks of how fiction is related to sermons, as seen in much of French fiction and in "the hectoring tone" found in D.H. Lawrence.
C156 Foster, Malcolm. "The Reading Game." The Gazette [Montreal], 22 April 1972, Sec. 4, p. 47. Foster comments on the writing styles, voices, and manners of the five members of The Montreal Storytellers, including Clark Blaise, John Metcalf, Hugh Hood, Ray Smith, and Raymond Fraser. "Hood leans an elbow on the lectern and tells you his nostalgic stories almost as if he weren't reading them at all, but had just remembered something interesting, perhaps amusing, and probably just a little bit sad."
C157 Cloutier, Pierre. "An Interview with Hugh Hood." Journal of Canadian Fiction, 2, No. I (Winter 1973), 49-52. Cloutier's introduction to the interview includes a short commentary on Hood's writing -- an "achievement one searches widely to match in English Canada." In the interview Hood argues that whereas Margaret Atwood's Survival: A Thematic Guide to Canadian Literature "seems to imply that the hero as victim--the typical Christian hero of European literary myth -- is not an indigenous donne," he believes that "Canadian cultural life Is Judaeo-Christian or nothing. The great world religions are not alien anywhere." The function of the artist in Canada, Hood states, is "Exactly what Joyce said it was: 'Forging the uncreated conscience of the race.'" Hood refers to the importance of "a big, three-dimensional schema or representation, a moral topography, a very extended emblem" to his method of composing fiction, gives a specific illustration of "natural symbolism" in White Figure, White Ground, answers several questions relating to You Cant Get There From Here, and discusses his forthcoming serial novel, which "will try to define the mythos of Canadian life."
C158 Lafon, Marianne. "Hugh Hood on the Novel." In her The Writer as Communicator. Montreal: Privately printed, 1973, pp. 9-19. In this interview Hood discusses the "place for religious convictions in fiction" and states that narrative, myth, and the Christian gospel are all true. "D. H. Lawrence said that the novel was the one bright book of life, that it was a kind of gospel, a religious communication," Hood notes, then emphasizes his own view that "Fiction is profoundly truth-telling and very moral." You Cant Get There From Here communicates "the feeling of bewilderment we all have" and shows how "every attempt to clarify matters in that society breaks down." These views on fiction and society are suggested by the title of the book: "The heavenly city is where you want to get, but you can't get there from here. You live in the earthly city and you don't get out of ordinary life." Fiction, Hood argues, presents "the complexity of the situation you're in" and not "a transcendental revelation." Although Hood uses facts for "physical authenticity," he describes You Cant Get There From Here as being "all invented" and "not documentary at all." While he tries through research "to make sure that the facts are as true as possible," he admits making occasional factual mistakes, and remarks that a writer like John O'Hara would necessarily have felt much worse about making an error in fact. "A fiction writer," Hood believes, "discovers truth from his own imagination."
C159 "Hugh Hood to Read Saturday at St. Louis-Maillet: Noted Canadian Prose Writer Best Known for Short Stories." St. John Valley Times [Edmundston, N.B.], Canadian News Ed., 18 Jan. 1973, p. I. A profile announcing Hood's bilingual reading at le College Saint-Louis-Maillet on the upcoming Saturday evening, 20 January 1973, and providing bio-bibliographical information on Hood to 1973.
C160 Vickers, Reg. "Books & Bookmen." The Herald Magazine [The Calgary Herald], 16 Feb. 1973, p. 7. Amid reflections on the general disappointment of the preceding week's Canadian writers' and critics' conference sponsored by the University of Calgary, Vickers reports that "Montreal novelist Hugh Hood told me on the bus back to Calgary after the final Banff session that he viewed the conference as one of the two or three most important in Canadian literary history. It was a landmark occasion in his opinion, one dominated by optimism for the future of the art."
C161 Vickers, Reg. "Writers' Conference: Winning the Battle." The Herald Magazine [The Calgary Herald], 16 Feb. 1973, p. 6. Vickers reports that "Montreal novelist Hugh Hood said he believed this country's greatest writers will come out of this generation. 'It's a terribly exciting time,' he said."
C162 Vickers, Reg. "Books & Bookmen." The Herald Magazine [The Calgary Herald], 23 Feb. 1973, p. 7. Vickers reports on Hood's plans for The New Age/Le nouveau siecle, particularly the first three volumes of the projected twelve-volume "Canadian epic." Vickers states that "Hood calls himself a 'radical socialist,' a pacifist and an optimist." In Hood's words, Vickers adds, The New Age/Le nouveau siecle is "'an optimistic book,'" which "'tries to make a grand visionary conception of our society.'" Vickers also notes that each volume "will skip across the country with each generation of [Hood's] central family finding itself involved in the history of a particular area . . . Ultimately, this family will be portrayed into the beginning of the 21st Century."
C163 [Allard, Kerry.] "Conversation: Jewish Layton Catholic Hood Protestant Bowering." Open Letter, Ser. 2, No. 5 (Summer 1973), pp. 30-39. Hood rejects the view, implied by Layton, "that a writer needs to feel rejected & persecuted." He raises the question, however, of what happens when someone wants to lore a society but cannot. This situation is what "I've written about most as far as French-Canada is concerned." Layton argues that the artist is an exile who upholds "transcendental & religious values that go contrary to the easy, happy, philistine assumptions of the majority of people who surround him," and Hood replies that such an artist "has to remember . . . that each one of these people has got a secret place where he's himself an artist." This understanding represents, for Hood, "the greatness of Wordsworth." Hood affirms Layton's comments that the artist as exile does not renounce the world, but that "every artist . . .is a redeemer, & that there is both transcendence & immanence, & this of course is the mystery of the incarnation."
C164 Hale, Victoria G. "Interview with Hugh Hood." Le Chien d'or/The Golden Dog, No. 3 (fev./Feb. 1974), pp. 24-33. Hood emphasizes his belief "that optimism is justified, that people's identities are integral, that, in fact, the drift towards death does not exist." As a Christian, Hood believes that "the narrative of Easter is right," that "Christ triumphs over death," "that the archetypal hero does revive." "I believe in the regaining of paradise," he adds, and "I believe in human immortality." Consequently, Hood regards much of the literature which "cries out from a sense of deep, tragic nihilism"--such as Camus's L'Etranger -- as "bogus." Hood also comments on his view of the symbolism of West and East, which, as he recognizes, entirely contradicts the values attributed to travelling West and East in American mythopoeic. For Hood, the East represents "the New Jerusalem, the traditional place to make pilgrimages."
C165 Fulford, Robert. "An Interview with Hugh Hood." The Tamarack Review, No. 66 (June 1975), pp. 65-77. Broadcast in Anthology. CBC Radio, 20 Sept. 1975. Hood discusses The New Age/Le nouveau siecle in general and The Swing in the Garden in particular. He analyses various aspects of life in Toronto during the thirties which signify the "profound educative value" of Canadian society, and he comments in detail on the somewhat Proustian mode through which he presents these materials in The Swing in the Garden. To Fulford, The Swing in the Garden is "a documentary novel"; but Hood rejects this term in favour of "the historical novel of social mythology and group awareness" or "documentary fantasy." "I'm trying to give an exact account," Hood states, "in the most precise and credible detail available, of something that is purely imaginary. 'Imaginary' in the sense of 'envisioned' or 'made into art.'" The New Age/Le nouveau siecle, he hopes, "will be an enormous image, an enormous social mythology, an enormous prism to rotate, to see yourself and your neighbours and friends and your grandparents." Hood defines his narrator's -- and presumably his own -- life's work as "to try and articulate at the end of the century what the emerging effects of the Canadian style are, what is Canadian in art."
C166 "Montreal Storytellers Enchant: Three Writers Present Readings." Selwyn House Newsletter [Montreal], June 1975, pp. 2, 5. This article reports on readings by three of The Montreal Storytellers--Clark Blaise, Hugh Hood, and John Metcalf -- during "Canada Day," a conference held at Selwyn House on 6 May 1975. The delivery of the three Montreal Storytellers present was "relaxed, articulate and very engaging."
C167 Richmond, John. "Book Wise: Hugh Hood's Ambitious." The Montreal Star, 16 Oct. 1975, Sec. C, p. 16. Hood's work is characterized "by lucidity, freshness, a keen sense of observation and an infused moral quality making itself felt not as something imposed but as an integral part of the texture of the writer's sensibility." Richmond states that The Swing in the Garden is "voraciously readable," that with it Hood's "series is off to a superb start," and that "Hood's talent enables him to escape from over-tight confines of the conventional documentary while remaining realistic."
C168 Sandler, Linda. "Near Proust and Yonge: That's Where Hugh Hood Grew Up and Why He's Making a 12-Novel Bid for Immortality." Books in Canada, Dec. 1975, pp. 5-7. Sandler's article combines a profile of Hood's life and work with numerous comments by Hood himself and with her analysis of The Swing in the Garden. She describes the latter as "an encyclopedic narrative of Canadian society, a fascinating bastard form that houses Hood the novelist, Hood the essayist, and Hood the social historian." Hood considers that he is writing "in the allegorical tradition of Spenser, in the philosophical tradition of Tolstoy, in the recollective mode of Proust." To Sandier herself, Hood seems "not so much a novelist as an inspired social historian." She argues that "His imaginative power lies in his ability to construct credible worlds he's never seen," and to write "as a well-reformed citizen of whatever fantastic territory he creates." "Hood's mind is always travelling from an elevated metaphysical plane, through an esoteric literary one, down to the very solid soil. And the reverse."
C169 Vickers, Reg. "Books & Bookmen." The Calgary Herald, 6 Feb. 1976, Sec. Friday, p. 43. Vickers quotes Hood's reply to Kevin Peterson's comments about The Swing in the Garden and The New Age/Le nouveau siecle.
C170 Swackhammer, Mac. "Writer Full of Ideas." The Leader-Post [Regina], 8 July 1976, Sec. I, p. 7. Swackhammer reports on some remarks made by Hood about his creative process, his writing habits, and the importance of words and ideas, while Hood was a guest instructor at a three-week creative writing course at the Saskatchewan School of the Arts at Fort San.
C171 Claus, JoAnne. "In His Last Reading, Novelist Hugh Hood Offers Insights into Formation of the Self." The Daily Gleaner [Fredericton], 29 March 1977, Sec. 2, p. 15. Claus reports on Hood's reading of excerpts from the first three volumes of The New Age/Le nouveau siecle to a "crowded audience" of about fifty people at the University of New Brunswick's Memorial Hall and on Hood's comments at that time. Everyone, Hood argued, is formed by the ten years before his conception as well as the years of his own life. The excerpts which he read presented "incidents in the lives of a small boy, the boy-grown-to-adulthood, and the boy's mother during her courtship"; and "one could recognize how events and feelings from the mother's early life did affect first the child and later the man." The reading, however, was somewhat perplexing, since Hood's "style and the effects he achieved were too subtle for recognition for first-time listeners." Moreover, Hood's writing generally lacked the drama and the irony which enhance an oral presentation.
C172 Garebian, Keith. "At Home with the Hoods." The Montreal Star, 19 Nov. 1977, Sec. D, pp. D-I, D-5. Garebian supplies an elaborate and thoughtful profile of Hood and his wife, the painter Noreen Mallory, including some biographical information, descriptions of the decor of their home, and discussion of their art. Garebian refers to Hood's The New Age/Le nouveau siecle as a "millennial" project and "an analogy of revelation in the form of a cycle," which "should be read," Garebian paraphrases Hood as saying, "like Blake's The Four Zoas or Joyce's Finnegans Wake or the Bible." Hood's novels, Garebian adds, "are a little like Proust's, a little like Romantic poems, a little like allegorical art. They are meditative, factual, symbolic, and ultimately comic in a Dantean mode of joining earth to heaven."
C173 [Fulford, Robert.] "This Month: Two Down, Ten to Go." Saturday Night, Jan -Feb. 1978, p. 9. Fulford refers to various aspects of Hood's career, including The New Age/Le nouveau siecle and "a projected novella." Hood's short story "Crosby," Fulford reports, "was occasioned by the death last autumn of Bing Crosby in Spain. 'I can't realize yet how much I minded it when Bing died,' Hood writes. 'I haven't felt anything so much in many years.'"
C174 [Nowlan, Michael O.] "Distinguished Writer to Visit Oromocto." The Oromocto Post, 5 April 1978, Sec. 2, p. 9. This is a publicity announcement for Hood's trip to give readings in Oromocto, New Brunswick. "Hugh Hood will be one of Canada's really great writers. He will be rejected by many during his lifetime, but history will do him justice." Extensive bio-bibliographical information is also provided.
C175 Nowlan, Michael O. "The Book Worm: The True Artist." The Oromocto Post, 19 April 1978,Sec. 1, p. 8. Hood's visit to give readings at the high school in Oromocto "has left a profound impression on those who met and talked with him." Hood represents "the true artist whose discipline and perspective will not waver." He is an individual who invigorates others with his own "enthusiasm and love for writing" and whose "simplicity and humble manner" are especially remarkable. Hood's works represent a specifically Christian art which "ranks far above the pagan offerings of the so-called leading writers" in the country.
C176 Cormier, Michele. "Hugh Hood Visits Oromocto High School." The English Teacher [Fredericton], 7, No. 3 (May 1978), 4. Cormier reports on a reading by Hood at Oromocto High School on 12 April 1978. Hood is "an extremely intelligent, sensitive and perceptive man," whose readings were "topical" and "carried strong emphasis on city life." Listeners responded to "the warmth and intimacy" of his work and to its "precise detail." "Serious fiction is like writing poetry--it is filled with feelings,'" Hood said. "'I use language as a stage property,'" he added. Referring to Chapter iv of Reservoir Ravine, Hood explained "that he had obtained the majority of his information from his father, who was deeply involved in banking and finance."
C177 Twigg, Alan. "Politics of Literature." Quill & Quire, Aug. 1979, p. 18. Twigg reports on the 1979 Heritage Writers Festival which was held in downtown Vancouver and at Simon Fraser University. "Hugh Hood, resplendent in a suit jacket and sneakers, complained that too many writers like Jack Hodgins and Graeme Gibson were conventionally unconventional." A symposium involving Hugh MacLennan, Roch Carrier, Scott Symons, and Hood discussed the subject of "Quebec: The Politics of Literature." All of these writers "agreed that overtly political literature was generally second-rate and did not last." Hood, Twigg states, concluded "that when literature subscribes to any orthodoxy, it is 'murderous to the free impulses of the artist.'"
C178 French, William. "Parting of Ways Won't Stop Hugh Hood's Grand Design." The Globe and Mail, 18 Dec. 1979, Sec. I, p. 16. French gives an account of various circumstances which precipitated the break between Hood and his long-time publisher, Oberon Press, and of how "Hood naturally gravitated to ECW Press." It should be noted that French is mistaken when he infers that Hood "has readjusted his schedule" in order that the final volume of The New Age/Le nouveau siecle can be published in 1999. In fact, Hood's original plan, although undisclosed until now, was, and still is, to publish the individual volumes in each trilogy of the projected twelve-part series at two-year intervals, but to allow three-year intervals between trilogies. The final volume of the series is designed to appear in the year 2000.
C179 "Readers' Choice: You Can't Tell a Book by Its Cover, but Maybe You Can by Its Readers: Some Well-Known Quebecers Name Their Favorite Books of 1979." The Gazette [Montreal], 29 Dec. 1979, Sec. Entertainment, p. 26. In response to a question about what book he most enjoyed in 1979, and why, Hood mentions that he is currently reading Adolf Deissman's Paul: A Study in Social and Religious History. Hood states: "I feel very close to St. Paul--the qualities of his character, the energy--he was never abashed, never self-conscious the way modern people are."
C180 Sedgwick, Don. "Hugh Hood Evaluated." Quill & Quire, Jan. 1980, pp. 18-19. Sedgwick gives a full report on the Hugh Hood Symposium held at York University on 17-18 October 1979. Among the comments cited is Hood's response to the parallels drawn by John Orange between Hood's work and Jacques Maritain's: "'It's all true about Maritain. He even died on my birthday in 1973. That really shook me!'" Sedgwick notes that Hood "was clearly moved by the high esteem in which he is held by the literary critics," and he observes that Hood spoke of his deadly serious and very high ambitions "with a wry grin."
C181 Prosser, David. "Has Canada's Culture Gone Down the Tube?". The Whig-Standard Magazine [The Whig-Standard] [Kingston], 16 Aug. 1980, pp. 19-20. This profile is based on a conversation with Hugh Hood and John Metcalf. The discussion focused on the present state of Canadian publishing, government, other institutions, television, and Canadian culture in general, as well as on the then-forthcoming release of Hood's None Genuine Without This Signature and Metcalf's General Ludd by ECW PRESS. "Both writers were caught up in a tension between. . .a long-standing anger at what they see as this country's cultural impoverishment" and excitement at the appearance of ECW PRESS, "a new, independent company committed to high standards of literary merit, careful editing and high-quality formats," and whose aim is to counter "the trend. . .for publishers to abandon serious literature . . . in favour of safer mass-market entertainment." About Canadian culture, Flood remarked, " 'I don't think there are a dozen real artists in the country .... We've allowed inferior art to pass as the real thing because we feel we should have some kind of cultural furniture.'"
C182 Stanley, Don. "The High Mountain Speaks to a Foothill." The Magazine [The Province] [Vancouver], 28 Sept. 1980, p. 12. Stanley reports on a telephone conversation with Hood. Hood's "voice on the phone seemed very much the voice in his stories, infinitely curious and crazy for detail." Hood believes that his story "Gone Three Days" is better than Faulkner's The Sound and the Fury and that his writing is "a lot better" than F. Scott Fitzgerald's. "Since he otherwise seemed friendly and down to earth, it could be that his opinions represent the healthy activities of those antibodies responsible for protecting an artistic organism from complete neglect on the part of the Canadian public." Hood also talked about the resort area near Brockville, Ontario, where he resides in the summer. Stanley includes this report in his review of None Genuine Without This Signature (D237).
C183 Hancock, Geoff. "Hugh Hood's Celebration of the Millenium's End." Quill & Quire, Nov. 1980, p. 40. Hancock's profile, based on an interview, provides glimpses of a number of Hood's activities, interests, tastes, and ideas, although Hancock's tone is sometimes mocking. For Hood, The New Age/Le nouveau siecle "is a millenial novel based on a Dantesque substructure." "It was on May 25, 1968 that Hood sketched out the scenario for the series. He recalled saying to his wife, Noreen: 'Garden swings are a model of history. You can go backwards and forwards, but you always stay in the same place.'" The profile explains Hood's views about documentary fantasy and portraiture as ways of understanding his work and gives an account of how "Scenes occur involuntarily to him. Then a cluster of associated thoughts forms around the material." In addition, Hancock provides a full account of why Hood left Oberon Press for ECW PRESS.
C184 Cherry, Zena. "Dinner Honors U of T Donors." The Globe and Mail, 22 April 1981, Sec. I, p. 16. The title of this column refers to a dinner occasion in which Hood was not involved. Cherry notes that Hood will be the dinner speaker on Friday 24 April 1981 at The Heliconian Club, which was "founded in 1909 for Professional Women in the Arts and Letters."
C185 Garebian, Keith. "A Degree of Learning: The Authors Hugh Hood, Hugh MacLennan, and Mordecai Richler: Conversations and Portraits." Montreal Calendar Magazine, Nov. 1981, pp. 27-28. Garebian begins his article with a profile of Hood, including descriptions of Hood's appearance and of his home in Montreal. Hood comments on a novella that he is planning to write, his "'working rhythm'" for composing stories, and the "'very powerful sense of rejoining in the sensory beauty of things'" that his Roman Catholic background has given him. Hood reaffirms --" 'Now more than ever'" the aim that he first expressed in 1978: to be the one Canadian artist "'who could move easily and in [a] familiar converse with Joyce, [and] Tolstoy, and Proust.'"
C186 Morgan, Katrina. "Canadian Writers Read from Works." The Daily Maine Campus [Univ. of Maine at Orono], 8 Dec. 1981, p. 2. Morgan reports on readings by Hugh Hood and John Metcalf. Hood described "Gone Three Days" as "the most difficult story he has ever written." Because "the child couldn't even speak, . . .Hood wrote the entire story in phonetic sounds or physical descriptions of what was happening to the boy." Hood agreed that the story could be interpreted as "a symbol for man's descent into hell," but emphasized that "'I don't think any writer sits down and whacks out 20 pages with a certain number of symbols -- like a recipe for pudding with so many raisins in it.'"
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C131 Hale, Victoria G. "Elements of Literary Tradition and Myth in the Novels and Sketches of Hugh Hood: An Examination." M.A. Thesis Sir George Williams 1971. "Hood's universe bears strong affinities to the four-levelled cosmos of the Middle Ages and the Renaissance," and his handling of action and character belongs solidly in the tradition of Dante, Spenser, Milton, and Wordsworth. In Hood's fiction, "the surface realism, which has been justly acclaimed for the accuracy and fidelity of its portrayal of the physical world, fulfills an allegorical rather than a documentary role." Hale devotes individual chapters to each of Hood's White Figure, White Ground, The Camera Always Lies, Around the Mountain: Scenes from Montreal Life, and A Game of Touch. Her fifty-two page analysis of The Camera Always Lies offers detailed comparison of Hood's book and Dante's Divine Comedy. Of special interest is the material in Hale's thesis which draws upon two interviews with Hood conducted on April 14 and May 11, 1971. Portions of the first interview have been preserved in published form (C155, C164), but the rest of the interviews appears to have been lost following Hale's death. In some instances, then, Hale's thesis is the only source or authority for certain of Hood's comments during these two interviews.
C132 Blandford, Patrick. "Treatment of English-French Cultural Tension in the Works of Hugh Hood." M.A. Thesis Concordia 1979. Through detailed studies of Hood's first four novels, individual short stories, his "sports-biography" about Jean Beliveau, and selected essays, and through comparisons among these works, Blandford demonstrates that the tensions between English Canada and French Canada and the search for a resolution of these tensions represent a central preoccupation of Hood's fiction and non-fiction. Blandford emphasizes A Game of Touch and defends Strength Down Centre: the Jean Beliveau Story. Some portions of Blandford's then uncompleted thesis were edited for publication in Before the Flood (C2).
C133 Lecker, Robert Allan. "Time and Form in the Contemporary Canadian Novel." Diss. York 1979. Lecker finds in contemporary Canadian fiction "an overriding preoccupation with man's existence in time, and with various methods of representing that existence through structure, form, and style." The chapter on The Swing in the Garden is substantially the same as the version published in Before the Flood (C2). However, additional comments on The Swing in the Garden and comparisons between it and other novels are included throughout the dissertation.
C134 Pell, Barbara H. "Faith and Fiction: Religious Vision and Form in the Novels of Hugh MacLennan, Morley Callaghan and Hugh Hood." Diss. Toronto 1980. Pell examines the problems of MacLennan, Callaghan, and Hood as "major religious novelists" whose fiction attempts to create an adequate narrative form for the life of faith. She regards Hood as "the most consciously religious and the most technically proficient of the three novelists." Yet in the process of her analyses of Hood's first seven published novels, she argues that Hood falsifies life by omitting or by treating simplistically "the questions, the existential anxieties, struggles, suffering and sin of real life." In addition, The New Age/Le nouveau siecle in particular "has failed to satisfy consistently the demands of the realistic novel in terms of character and incident." Hood's desire "to synthesize the novel and the Christian allegory represents "a perfect solution" only in theory; for "in practice this hybrid form results in most of the critical problems with Hood's latest work." In conclusion, it appears to Pell that "the conflict between realistic fiction and transcendent faith may be stimulating and productive but ultimately insoluble."
C135 Struthers, J.R. (Tim). "Intersecting Orbits: A Study of Selected Story Cycles by Hugh Hood, Jack Hodgins, Clark Blaise, and Alice Munro, in Their Literary Contexts." Diss. Western Ontario 1982. In the introduction, Struthers includes unpublished statements by Hood explaining "his general conception of the value and the means of ordering short story collections." The conclusion cites a number of examples from Hood's work as illustrations of some common features of Canadian story cycles. A forty-page chapter on the form of Around the Mountain: Scenes from Montreal Life begins with remarks about Hood's general aesthetic retentions and then outlines the method, the cosmology, principal themes, and other significant links that inform "the whole sequence of ritualistic actions in Around the Mountain.'" The remainder -- and the majority -- of this chapter examines the individual stories in their calendrical sequence, and concludes that in Around the Mountain Hood "has transformed reality into a visionary work of art, 'a secular liturgy' . . . praising God by illuminating His creation."
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Titles critiqued: GAME of touch (Book)
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Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
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D34 Sypnowich, Peter. "A Depressing New Novel about Corporate Society." Toronto Daily Star, 8 Oct. 1970, Sec. 2, p. 36. Sypnowich disparages A Game of Touch as "an unfeeling novel, one in which pasteboard characters and thin events are dealt out like a hand of solitaire." Following its fine opening chapter, "the novel loses its momentum." "The story grows artificial, and the characters become as depersonalized as the corporate society that Hugh Hood constructs."
D35 French, William. "Scrambled Scrimmage, Fumbled Ball." The Globe Magazine [The Globe and Mail], 24 Oct. 1970, p. 36. The subjects of Hood's novel include federal-provincial fiscal relations, sexual relations, French-English relations, business relations, strained relations, and touch football. One could even compare the use of "Touch" in the title of Hood's novel with the epigraph from Rilke in MacLennan's Two Solitudes, another novel about French-English relations in Canada. "But that's really stretching it," French states. Whether A Game of Touch is "a comedy, a put-on, or a serious attempt at allegory," it is still unsuccessful. "There are some good moments, but they are rare."
D36 F[ulford]., R[obert]. "Captain Canada." Saturday Night, Nov. 1970, pp. 47, 49. Fulford dwells mostly on the figure of Roger Talbot and his resemblance to Pierre Elliott Trudeau. "Roger's experience in Ottawa -- paralleling, in some ways, the experiences of Favreau and Lamontagne during the Pearson years -- is believable in its disillusionment." Hood's novel is "a solid achievement" and a clear "advance over his rather ponderous White Figure, White Ground (1964) and his superficial The Camera Always Lies (1967)." Fulford remarks that "the cityscape of Montreal has perhaps never been conveyed in a novel with such confident authenticity."
D37 Dawe, Alan. "Minor Character Moves up a Notch." The Vancouver Sun, 6 Nov. 1970, Sec. Leisure, p. 35A. The function of Marie-Ange in A Game of Touch "is to help give Hood's somewhat scattered plot a kind of unity." Jake Price is "the most central character, although something of an unsatisfactory one, since he is neither ambitious enough nor admirable enough to command our attention." Dawe concludes that "no one in Canada today writes with a stronger sense of place. Montreal itself... challenges Marie-Ange as Hood's most memorable character."
D38 "Attempt at Complex Study in New Novel Set in Quebec Fails without Live Characters." The Varsity [Univ. of Toronto], 18 Nov. 1970, p. 9. The fallibility of Roger and the sensuality of Marie-Ange show that "Hood does breathe life into his characters from time to time." Yet the novel is not wholly "personalized." "The long philosophical or political conversations are boring, and too often the symbolism or the superficiality of the characters is too blatant; the reader cannot get inside the characters to a sufficient extent to care about them, even though he may care passionately about Canada."
D39 Foster, Malcolm. "Hugh Hood's New Novel Lacking the Old Warmth." The Gazette [Montreal], 21 Nov. 1970, Sec. 4, p. 42. The two main characters of the novel, Jake Price and Roger Talbot, ring a little false. "The most interesting and, paradoxically, the truest characters in the novel are its two phonies, Marie-Ange Robinson and Sam Tate." A Game of Touch "is a cold novel, too cerebral, a novel of ideas rather than of people, without the warmth that Hood puts into many of his shorter pieces."
D40 Richmond, John. "When Putting Pen to Paper, Beware!". Rev. of Between the Lines: The Casebook of a Graphologist, by Hannah Milner Smith; Hail Galarneau!, by Jacques Godbout; A Game of Touch, by Hugh Hood; The Honeyman Festival, by Marian Engel; and Call Heaven to Witness, by Bernard Berlin. The Montreal Star, 26 Dec. 1970, Sec. Entertainments, p. 45. A Game of Touch is "Structurally strong, showing genuine respect for character and plot." "Hood is a trim writer whose humor is informed with acumen" and whose writing and view of reality are "much less sensational" as well as "less trendy, less frivolous, more powerful and less explosive than the publisher's evaluation suggests." The novel exhibits "no moral self-indulgence" or "pseudo intellectualism." "A purposive flatness of style camouflages, ironically, a tough-mindedness, and resilience. Hood is a deft operator; A Game of Touch an achievement."
D41 Brewster, Elizabeth. "Novel of Montreal." Edmonton Journal, 8 Jan. 1971, Sec. Leisure, p. 46. A Game of Touch is "a better novel than White Figure, White Ground, the more important of [Hood's] earlier novels." Brewster analyzes Hood's use of shifting points of view, discusses the theme of how people reveal themselves through the games they play, then concludes that A Game of Touch 'is in some ways a short story writer's novel. One remembers individual scenes. . . more than the total effect."
D42 Woodcock, George. "Two Facets of Montreal Drama." Rev. of Whir of Gold, by Sinclair Ross; and A Game of Touch, by Hugh Hood. The Victoria Daily Times, 20 Feb. 1971, Sec. I, p. 18. Woodcock refers to Hood's "special fascination with the way men are affected by their occupations" and remarks that this novel presents "a convincing . . . macrocosm of middle-class eastern Canada." Woodcock praises the novel's "complexity of structure," "its psychological variety," "its control of the sentimental mood," and its "social description," and observes that Hood's "Montreal is more convincing in a realistic way than either Morley Callaghan's or Hugh MacLennan's." Yet Woodcock qualifies his praise by expressing a feeling of doubt about Hood's writing, that "the image of Montreal as a physical presence always survives in the memory, clear and evocative, while the human beings fade into indefiniteness."
D43 Hughes, Peter. Rev. of A Game of Touch. Commentator, 15, No. 3 (March 1971), 16. Hughes strongly criticizes current Canadian writers for presenting characters who appear "devoted to scratching some national itch rather than growing as characters." A Game of Touch is a "sour little novel," which turns "a fictional narrative . . . into a civics text" and which offers "patriotic zeal" but only "meagre truths."
D44 Montagnes, Anne. Rev. of Fifth Business, by Robertson Davies; Whir of Gold, by Sinclair Ross; and A Game of Touch, by Hugh Hood. The Canadian Forum, March 1971, pp. 443-44. Montagnes respects Hood's intelligence and sincerity but finds his work "misshapen," its meaning unclear, and its characters less than full-sized. "Hood seems to confuse Jake . . . with someone much older and more perceptive." Montagnes is more interested, however, in the significance of the presentation of "predominant types of Canadian women" in A Game of Touch and the other novels under review, and she criticizes Hood for failing to create encounters between Marie-Ange and Yvonne. They "barely notice each other," Montagnes states, and "That is not the way things are with us."
D45 Rix, Beverley. "Novelist Turns to Politics." The Saturday Citizen [Ottawa], to April 1971, Sec. 3, p. 42. Rix admires Hood for being "very careful in the construction of his stories, very conscious in the selection of the words and style of his characters." She also praises his descriptions of physical actions, along with "the feeling of companionship which accompanies such actions," and his understanding and descriptions of Montreal. But Rix is critical of Hood's characterization, for the characters "seem to be conceived and motivated primarily by intellect" and lack "spontaneity of feeling and action." Hood's characters are made to perceive each other in terms of pattern or myth; and their independence is curtailed by Hood's perspective as "a moralist."
D46 O'Connor, Michael Patrick. "A Ritual to Be Enacted along the High Road in Midsummer." The Canadian Fiction Magazine, Nos. 2-3 (Spring-Summer 1971), pp. 94-97. A Game of Touch is an "unremarkable novel" and a failure. "The ineptitude of Mr. Hood's use of traditional novelistic form fortunately makes it impossible for us to follow his heroine's story from its comparatively mild beginning to the thundering finish: it is possible to like Marie-Ange, but it is much easier to ignore her."
D47 Roper, Gordon. "Letters in Canada: 1970. Fiction." University of Toronto Quarterly, 40 (Summer 1971), 384. Roper discusses elements of A Game of Touch in terms of the typical urban story. He summarizes Jake's experience as finding that "life in Montreal is a new game to be played for the good feeling that comes from playing well, as he learns the shifting patterns."
D48 Nowlan, Michael O. Rev. of A Game of Touch. The Daily Gleaner [Fredericton], 7 Aug. 1981, Sec. Leisure, p. 15. A review of the ECW re-issue. A Game of Touch succeeds "at different levels," from entertainment to "a thorough examination of character development." Jake Price "is a paradox of love and provocanon"; while football, seen symbolically, "exemplifies in its many patterns all manner of human relations." One's appreciation of the novel is enriched by viewing it in relation to Hood's The New Age/Le nouveau siecle. A Game of Touch "commences the thread or pattern of his later work. He gets involved here with 'the application of theory in the games of life, of love' which is an intricate philosophy of his current work in progress."
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
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- Part 2 Works on Hugh Hood; Selected book reviews; A New Athens
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Titles critiqued: NEW Athens (Book)
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- Struthers, J.R. (Tim) (compiler) Part 2: Works On Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; A New Athens
Struthers, J.R. (Tim) (compiler)
D100 Clever, Glenn. Rev. of A New Athens and Dark Glasses. Canadian Fiction Magazine, No. 27 (1977), pp. 145-48. Hood's control of narrative point of view has improved in A New Athens; "the many sermons seem Matt's, not Hood's." Clever summarizes the novel's four chapters, and traces its movement "through four emotional peaks or, to Matt, moments of epiphany." The novel "probes the psychic as well as displaying the physical environment of its people and terrain." A New Athens is unified by "Mrs. Codrington's death and 'resurrection.'"
D101 French, William. Rev, of A New Athens. The Globe and Mail, 17 Sept. 1977, Sec. Entertainment-Travel, p. 36. A New Athens "is at least as good as" The Swing in the Garden. "It's broader in scope, deeper in meaning, and Hood is at the top of his writing form, full of engaging perceptions -- although some readers may object to the book's slow pace and the numerous erudite digressions, or may become confused by trying to sort out "where fact ends and fiction begins." In A New Athens, "Hood continues to be interested in the class structure of our society, but there's even more emphasis this time on our history." "The link between religion and cultural development recurs frequently in the novel, and Matt Goderich makes a connection between the new Athens and the New Jerusalem."
D102 Morley, Patricia. "Hood, but Not at His Best." The Ottawa Journal, 17 Sept. 1977, Sec. C, p. 40. Morley argues that The New Age/Le nouveau siecle "is long on historic and philosophic reflections and distinctly short on the elements most people look for in a novel." She finds the lack of narrative or action "regrettable, since Hood handles narrative so well and (curiously) has often stated publicly that he considers it an important element in fiction." A New Athens "is densely textured, packed with details drawn from history and personal observations," but starts too slowly.
D103 Nowlan, Michael O. "The Book Worm." The Oromocto Post, 21 Sept. 1977, Sec. I, p. 5. As "a very christian book," A New Athens represents "a genuine expression of an honest and wholesome way of life" which Nowlan considers "a welcome change" in the current literary marketplace. A New Athens is as "thorough and detailed" as the first volume, but "flows better" and is "more even." The New Age/Le nouveau siecle, Nowlan predicts, "is destined to be one of the great works of world literature."
D104 Helwig, David. "Hood Is Lyrical, Reflective." The Toronto Star, 24 Sept. 1977, Sec. Entertainment, p. D9. The mode of The Swing in the Garden and A New Athens is lyric. But "How far can the lyric be extended without becoming a work that is dipped into for occasional delights but never read?" Helwig senses "a need for more drama," "a dramatic form" which expresses Evil as well as Good; yet he perceives that such conclusions are "premature" and "may even be unfair." "Hood intends to build a gradual architecture of metaphors within each book and from book to book"; and Hood's exemplar here "is not Proust or Powell but Wordsworth."
D105 Kelly, Tom. "New in English." Rev. of A New Athens, by Hugh Hood; Act of God, by Charles Templeton; Children of the Black Sabbath, by Anne Hebert; and Child of the Morning, by Pauline Gedge. Canada Today/D'Aujourd'hui, No. 8 ([Oct.] 1977), p. 3. "Hood is a master," who "writes with precision, treading perceptively through the past," and whose writing is truly "glowing." "A New Athens is marvelous in much the way E. M. Forster's Howard's End is: subtle, true, a picture of place and time and social strata, done with an art that appears artless."
D106 Owen, I. M. "A Stimulating Novel, Reviewed In 709 Words." Books in Canada, Oct. 1977, p. 13. Owen finds the novel very "stimulating" and notes that "Hood makes many of his statements in terms of painting," Owen compares Hood's technique in the skating scene with "the art of the figurative painter--however visionary his vision, to express it he must make precise measurements and know exactly what he is doing with the perspective. But the vision must be visionary."
D107 Middlebro', Tom. "Pompous Narrator Flaws Hood's Novel." The Weekend Citizen [Ottawa], 1 Oct. 1977, Sec. 3, p. 38. A New Athens is an important but flawed work. Middlebro' praises the "memorable scenes," including "the vision of the sunken British gunboat seen through ice by moonlight" and the "fascinating description of Mrs. Codrington's painting of Stoverville and the Last Judgment.'" However, he is disturbed that the narrator, Matthew Goderich, "who too often sounds like a garrulous pedagogic scold," could be presented by Hood as winning love and trust.
D108 Williamson, David. "Patterned on Proust and Powell." Winnipeg Free Press, I Oct. 1977, Sec. Leisure, p. 6. A New Athens "is a vastly more interesting book" than The Swing in the Garden, which "was obviously well-written" but "lacked emotional impact." "This second volume seems to show more interest in human interaction--in events--than did the first"; yet "Hood lets his erudition take Matt on loving but long-winded and creaky descriptions of house architecture and paintings" and "While objects require minute details spread over several pages, a potentially intriguing young woman is often summed up as 'wonderfully pretty and attractive.'" Williamson infers that Hood's intention is "to play down character and play up ideas related to art, religion, politics. Yet, while Edie never becomes really alive as Matt's beloved, a character like the Yonge St. prostitute, Florence, can make a brief appearance and nearly steal the show."
D109 Bartlett, Brian. "Hood's 'New Athens' Is Subtle, yet Grand." The Gazette [Montreal], 8 Oct. 1977, Sec. Entertainment, p. 20. "Hood's catholic (and Catholic) sensibility as a supremely fine instrument which generates excitement over subjects as unlikely as successive layers of asphalt seen while kneeling on a roadside." "Like few other writers Hood can shape the elements of the familiar essay into drama and poetry." Matthew Goderich "has a saving sense of comedy about his love of particulars."
D110 Peterson, Kevin. "... Writers and Words." The Calgary Herald, 8 Oct. 1977, Sec. B, p. B12. Peterson describes Hood as "probably the best writer working in Canada today." A New Athens celebrates "the strength of a community" and "the accomplishments of individual creativity." The novel "has a pervasive sensuality that is delighting -- Hood can portray the bonds between a man and a woman in a rewarding relationship in a way that no other writer can approach." With regard to the novel's "frequent lyrical digressions," Peterson emphasizes that while "It often seems that Hood lets go of his themes and simply wanders .... a close analysis shows he develops them with a very tight internal discipline that is rarely relaxed." Matt Goderich and Hood's other heroes "are immensely likeable people .... They are not drawn as perfect but rather as an indication of how an individual, by drawing on the strengths around him, can approach his potential." Hood himself "may be the perfect Canadian because, with his marvellous control of language, he can bring these intellectual sentiments to life on the printed page."
D111 Granatstein, J. L. Rev. of A New Athens. Q & Q update [Quill & Quire], 13 Oct. 1977, pp. 6-7. As in The Swing in the Garden, "Hood reveals that his finest talent is his uncanny ability to create the feel of an area, its roads, terrain, buildings and people." Overall, "The sensibility, the fine intelligence poking and probing into the life of homo canadensis during the 1950s is so acute, so accurate that I feel as if I and the people I know had all been minutely examined .... If the author can maintain the standard of the first two volumes, his series could turn out to be the definitive artistic statement of life in modern Canada."
D112 Garebian, Keith. "Classic Condition." The Montreal Star, 15 Oct. 1977, Sec. Entertainments, p. D-3. Much of A New Athens "comes out of dreams, memories, and imaginings of the past." It is a book "in which a love of fact is absorbed by an apocalyptic vision of a developing culture and age in a small but significant corner of Canada." Hood's writing "goes beyond photography"; it is "poetic" and "brilliantly cerebral -- the most solid among our fiction writers." Matthew Goderich "is a dreamer and a realist," "a synthesizer," and "a synoptic witness -- like his Biblical namesake." Garebian relates the function of the "synecdochic curve" which reappears in the shape of several features in A New Athens to the "ultimately mandalic" shape of the book itself which "transforms the entertaining social comedy into a revelatory comedy of human dispositions open to grace."
D113 Wigod, Rebecca. "Nice Package, but Inside .... " Rev. of A New Athens, by Hugh Hood; and The Love Parlour, by Leon Rooke. The Province [Vancouver], 21 Oct. 1977, p. 28.About Hood's projected series, Wigod states that "Twelve books. . . sounds alarmingly prolix." "Hood has very good raw material in his story about rural Ontario but he has not cut away enough dross." "Beneath this bric-a-brac of style, however, there is a good and pleasing book."
D114 Dawe, Alan. "Ardor along the St. Lawrence." The Vancouver Sun, 28 Oct. 1977, Sec. Leisure & TV Week, p. 39L. Matt and Edie form an unsentimental and convincing "marriage between soulmates." In addition to this central love story, A New Athens concentrates on "painters and painting" and also on "the St. Lawrence River, and the small Ontario communities that exist along it." "What dominates Hood's fiction is a sense of life itself--children are born, parents die, works of art are created, homes are built, the life of southern Ontario flows on."
D115 Whittaker, Ted. "Hugh Hood: Novel Series Improves." Rev. of The Swing in the Garden and A New Athens. Toronto Clarion, 23 Nov. 1977, p. 9. While the first volume makes Whittaker feel frustrated about "who Matthew Goderich is," he finds the grown-up Matthew of the second volume more acceptable. "What fascinates in both books is their profound sense of personal maturity, of the sympathetic characters' ease here, in this uneasy colony, on this appropriated ground. We are shown convincingly that such a measure of joy is possible, without undue exploitation of self or others."
D116 A[dachi]., K[en]. "Novels Don't Match Season's Euphoria." The Toronto Star, 3 Dec. 1977, Sec. Entertainment, p. D9. Adachi comments briefly on The New Age/Le nouveau siecle and finds A New Athens to be "humane, witty, lyric and full of quiet pleasures."
D117 Solecki, Sam. "Metafiction or Metahistory?". The Canadian Forum, Dec.-Jan. 1977-78, pp. 37-38. "On the whole," A New Athens "seems to fall somewhere between fiction and history with none of the strengths of either." Although Soleckl finds some of the scenes "interesting," he is very critical of Hood's "propensity for using fiction as a vehicle for his ideas," his failure to make his ideas "firmly grounded in credible characterization and intensely dramatic events." "For a novel that is insistently attempting to be realistic and historical, A New Athens slips too often into an almost pastoral, ahistorical mode" "Innocence, goodness and good intentions . . . are not enough when one is describing, as Goderich is, the world of experience. This weakness at the novel's centre results in an unconvincing fiction and an unilluminating social history."
D118 Long, Tanya. Rev. of A New Athens. In Canadian Book Review Annual: 1977. Ed. Dean Tudor, Nancy Tudor, and Linda Biesenthal. Toronto: PMA, 1978, pp. 106-07. The story of Matt's relationship with Edie Codrington supplies "the main narrative thrust" in A New Athens; yet matters of "plot and character" are less important to the book than the numerous reflections by Matthew Goderich, who "is a kind of Renaissance man, knowledgeable about and deeply committed to issues of art, history and religion." Hood's treatment of "the history and development of a certain part of southeastern Ontario" in turn stimulates interest in the history of one's immediate personal landscape -- for example, one's house--and it affirms "the vitality of cultural life in Canada."
D119 Conkie, Jennifer, "A New Athens: A Serious, Evocative Book." The Whig-Standard [Kingston] 21 Jan. 1978, Sec. Weekender, p. A7. A New Athens represents "a carefully woven explanation of the meaning and value of individual lives in patterns of historical time." Conkie observes "a didactic purpose" in Hood's treatment of history, and states that "For those of us born and raised in this part of the world, there are delightful moments of recognition and a comfortable, 'at home' feeling with the descriptions of the river, the Rideau Canal, the islands, the lakes, and the characters themselves." She praises Hood's "lyrical, magical language," mastery of dialogue and characterization, and "range of tone and feeling." The novel has "a solid unity," for "The weight of history, the depth of religion, the concern for a country's art and ideas, all of these, in combination with a strong aesthetic sense, sustain and direct the author's ruminative pace and diversity of interests."
D120 Duffy, Dennis. "A New Athens, the New Jerusalem, a New Atlantis." The Fiddlehead, No. 117 (Spring 1978), pp. 101-08. A New Athens "is built upon a series of discoveries," which "are themselves enclosed within a visionary mode of perception by which revelations become linked to others, present and past." "The process is Wordsworthian," but behind the Wordsworthianism lies "an explicit acknowledgement of the role which Christian belief and practice play in achieving so integrated a sense of human experience." Duffy defends "Hood's unabashed extension of the novel form" to include documentary and discursive material, and compares this achievement with the work of Dreiser and Dos Passos. However, Duffy raises questions about a number of other elements in A New Athens, including the style of the author's voice, the inconsistency in Matt's reactions to the subject of class, and Hood's limited presentation of "noncomic elements." Duffy demands more "fleshliness" as well as "greater complexity and toughness" than Hood displays. Such problems cannot "be sidestepped through praise." Nevertheless, The New Age/Le nouveau siecle "remains a magnificent project, worthy of the highest genius."
D121 Mills, John. "The Bloody Horse." Rev. of Close to the Sun Again, by Morley Callaghan; The Doctor's Wife, by Brian Moore; and A New Athens, by Hugh Hood. Queen's Quarterly, 85 (Spring 1978), 61, 63-65. Rpt. in Lizard in the Grass. By John Mills. Downsview, Ont.: ECW, 1980, pp. 137, 139-41. Hood's fictions, unlike Anthony Powell's, cannot be confined to categories of "social realism" and "the novel." In this second volume of The New Age/Le nouveau siecle, Hood has "acquired complete control over his method," Mills discusses Hood's fictions in terms of the visionary painter Stanley Spencer and also "as celebrations of God's creation from a sort of Dantean perspective, whereby contradictions are ultimately resolved, human propensity for error and corruption is seen as trivial, and 'everything,' as Matt says in the earlier volume, "can be atoned for.'" Instead of conventional narrative, Hood employs "a sequence of emblems, topoi for meditation, in which nothing is dramatic, although almost everything is rendered vividly and in which the characters, though unbelievable in their serenity, are intensely alive." In the structure of A New Athens, metaphorical associations extend "until the visible world in all its multiplicity is caught up in one great metaphysical knot and rendered as an aspect of the Divine."
D122 Denham, Paul. Rev. of The Sunshine Man, by D. M. Clark; The Colours of War, by Matt Cohen, A New Athens, by Hugh Hood: and Lightly, by Chipman Hall. The University of Windsor Review, 13, No. 2 (Spring-Summer 1978), 108-09. Denham stresses the importance of documentary material in A New Athens because the novel focuses on "the continuity of culture" and on how "from a few symbolic items . . . a rich, complex history can be reconstructed." "Politics and religion--the impulse to social order and the desire for a divine one"--are also very important in A New Athens. Although "Hood is not always as reliable about details as he'd like us to think .... his great talent is to use particularities effectively to evoke both a sense of the physical world and the larger historical, social, and spiritual realities which the physical details imply."
D123 Bilan, R. R "Letters in Canada: 1977. Fiction: 2." University of Toronto Quarterly, 47 (Summer 1978), 326, 327-28. In A New Athens, digressions, meditations, and ideas too often simply take over from the fiction and from such standard elements as character and plot. Hood "is excessively cerebral," and he "repeatedly turns away from handling emotional scenes" like a wedding or a death. Hood has a "conservative moral vision," and his religious perspective is "rather chilling." However, Bilan praises the characterization of May-Beth Corington, her discussions with Matt about religious art, and the "impressive reach in the last part of the book dealing with her paintings,'" although these are "not enough to redeem Hood's novel."
D124 Dahlie, Hallvard "A Moral Universe." Essays on Canadian Writing, No. II (Summer 1978), pp. 138-41. Dahlie argues that in the opening paragraph of A New Athens, Hood typically transforms circumstantial detail and self into a kind of mystical entity which, for all its ontological complexities, represents finally a re-affirmation of Wordsworthian man." "Hood is unequivocally a realist in most of his fiction .... "
D125 Thorpe, Michael. "Current Literature 1977: III. Commonwealth Literature. Canada." English Studies, 60, No. I (Feb. 1979), 62. Although Thorpe found The Swing in the Garden to be "promising," he regards A New Athens as "a tedious, narcissistic work to which the developing life of the protagonist, Matt Goderich, seems incidental." Hood writes good prose; but he has over-indulged himself in reflections and has not succeeded in becoming an "impersonal chronicler, capable of immersion in his fictional world."
D126 Peterman, Michael. "English-Canadian Fiction in 1977." Journal of Canadian Studies, 14, No. I (Spring 1979), 94, 97-99, 104. Peterman praises the "affectionate and intelligent attention" which Matthew Goderich--and Hugh Hood--pays to everything he perceives. "Matt's vision, like Hood's own avowed aesthetic, is essentially Romantic and particularly Wordsworthian." Peterman argues that "what matters far more than the undramatic events are the angle of vision, the philosophy, and the sense of pattern the narrator brings to what he perceives." Peterman admits his own difficulties with "the longeurs of the prose," "the novel's didacticism," and "particular uncertainties in the character and narrative role of Matt Goderich," but recognizes that the solutions may lie in the whole of The New Age/Le nouveau siecle. Hood has made Stoverville come alive.
D127 Salter, Denis. Rev. of The Swing in the Garden and A New Athens. Dalhousie Review, 59 (Spring 1979), 186-89. Salter admires the "range and depth of characterization, story and thought" in the first two volumes of The New Age/Le nouveau siecle, and finds Hood's series "in every respect worthy of comparison to Powell's." A New Athens is somewhat superior to The Swing in the Garden, "largely because the philosophical discourses are more closely integrated with narrative, characterization, conflict and the like." Salter comments on Hood's use of keys and emphasizes that "It is this image of Matthew as the holder of the 'key' of knowledge and interpretation that Hood allies with the biblical significance of Matthew's name." Ultimately, "The town of Stoverville... becomes a New Jerusalem," while the nearby town of Athens continues the cultural tradition of its namesake. This union of "the Hellenic and Judaeo-Christian bases of our 'Mosaic' Canadian culture" occurs, appropriately, "in 1966, just in time for the joyful celebration of nationhood the next year."
D128 Northey, Margot. "Art & Ideas in Hood's New Age." In Quebec Fiction: The English Fact. Ed. John R. Sorfleet. [cf. C79] [Journal of Canadian Fiction, No. 30 (1980)], pp. 165-67. Hood's re-creation, in minute detail of the geographical and historical character of "Stoverville" gives A New Athens a predominant "sense of place, of physical rootedness." "His penchant for exactness is coupled with an ability to see sympathetic relationships between apparent disparities." A New Athens is flawed, however, by "abstract discussion and complicated explanations," and by authorial intrusion that slows the progression of the narrative. Hood also displays a tendency to ignore "the troublesome diversity of life" and "to slot his people neatly into his moral topography." Mrs. Codrington, a complex and dynamic personality, emerges as a significant exception.
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
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- Part 2 Works on Hugh Hood; Selected book reviews; Around the Mountain: Scenes from Montreal Life
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Criticism & interpretation -- Bibliography
Titles critiqued: AROUND the mountain: Scenes from Montreal life (Book)
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Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; Around the Mountain: Scenes from Montreal Life
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D254 Colombo, John Robert. Rev. of Around the Mountain: Scenes from Montreal Life. The Canadian Reader, 8, No. 5 ([May 1967]), 2-3. Around the Mountain is neither "about" nor "set in" Montreal; instead, for the first time in Canadian literature, Hood has succeeded in identifying so completely with a city "'that he has made it his own" and has turned Montreal "into a hero," until "we begin to appreciate the diversity and the final form of the city the way a Montrealer would." Colombo suggests that "'by employing two styles--the documentary and the dramatic, sometimes simultaneously--[Hood] has been able to make his reader see [Montreal's] various quartiers and feel what their inhabitants feel .... The Hood style is closer to cinema than anything else, for he writes a kind of prose verity which brings to mind film-makers like Godard and Truffaut rather than writers like Richler or MacLennan."
D255 Taylor, Bruce. "Montreal Days and Nights." The Montreal Star, 8 June 1967, Sec. I, p. 4. Taylor's reference in this column to Around the Mountain as "A book about Montreal by a Toronto writer for a Toronto publisher? Could be interesting" prompted a reply by Hood which Taylor included in a subsequent column (C141).
D256 Legate, David M. "Capsular Canadiana." Rev. of Memoirs, by Dana Wilgress; Around the Mountain: Scenes from Montreal Life, by Hugh Hood; Canada's North, by R. A. J. Phillips; and Professor, Go Home, by H. Gordon Green. The Montreal Star, 17 June 1967, Sec. Entertainments, p. 6. Legate remarks that Hood's entrancement with "'the cosmopolitan atmosphere of the Canadian metropolis" is reflected in his choice of "out-of-the-way locales and stray acquaintances, with the accent on the Gallic character of the urban community." Hood's enthusiasm, Legate adds, "is well-modulated and adult."
D257 Ready, William. "It's Montreal, the City You'd Like to Live In." The Hamilton Spectator, 22 July 1967, Sec. 2, p. 23. Ready praises the achievements of city chroniclers in the United States such as James Thurber, O. Henry, and John McNulty, then remarks that until Hood, "Canada lacked a chronicler to compare with them." However, Hood's volume shows "talent as big and as significant as any city chronicler ever, anywhere in the world." The sketches in Around the Mountain "are sheer and unadulterated joy to read, so simple that they mask the great craft of them completely."
D258 Phillips, Bluebell. "Doesn't Reflect Montreal." Sherbrooke Daily Record, 29 July 1967, p. 7. Phillips criticizes Around the Mountain harshly, arguing that it "contains little of the real qualities to be found in Montrealers or in the city itself" and that "Neither the city nor its inhabitants merit the detached, pedestrian observation such as, I feel, the author uses. There is in his plain statements none of that generous passion that brings people and places to vivid life."
D259 Kattan, Naim. "Les Ecrits canadiens-anglais." Rev. of Around the Mountain: Scenes from Montreal Life, by Hugh Hood; and North of Summer, by Al Purdy. Liberte, 9, No. 4 (juillet-aout 1967), 133-34. Kattan observes that because Hood has avoided two pitfalls, exoticism and smug admiration, there is absolutely no trace of facile sentimentalism in this work. However, the author has not let himself go or shared as much emotion with us as he might have. His descriptions are a little too spare and his attitude is overly reticent. Nevertheless, Hood is not an unaffectionate or detached observer and Around the Mountain "fait vivre un Montreal vu a la fois de l'exterieur et de l'interieur." The most moving story in the collection is "Bicultural Angela," from which Kattan concludes that "Les rapports humains les plus intimes et les plus reels echappent, semble dire Hood, aux constructions les plus elaborees de la volonte."
D260 Gzowski, Peter. "Why Montreal Is Canada's Parnassus." Rev. of Around the Mountain: Scenes from Montreal Life, by Hugh Hood; and The Meeting Point, by Austin C. Clarke. Maclean's, Aug. 1967, pp. 70-71. Rpt. (excerpts) in The Canadian Reader, 10, No. 3 ([June 1969]), n. pag. Gzowski praises Hood's "warm interest" in Montreal, his "fresh eye," and his straightforwardness. Hood himself and members of his family appear often throughout the book, "even in scenes that have been fictionalized," but Hood "never lets that get in the way of his material." Hood "is there simply as an observer--his own character doesn't matter .... What does matter is the life around him, and the people who are living it."
D261 Dault, Gary Michael. "Fiction Chronicle." The Tamarack Review, No. 45 (Fall 1967), pp. 116-17. Dault prefers the "economy and deftness" of the stories in Flying a Red Kite and the sketches in Around the Mountain to Hood's "exceedingly tedious and overblown" novel White Figure, White Ground. The sketches "make in their accumulative effect a satisfying mosaic of the human condition." Dault praises the beauty of "The River behind Things" and the humour of "Le Grand Demenagement," and he says that Hood's treatment of "the phantom lover-Lorelei-enchantress" in "A Green Child" is "of the highest order."
D262. Fulford, Robert. "Hugh Hood's Misused Talent." Rev. of The Camera Always Lies and Around the Mountain: Scenes from Montreal Life. Toronto Daily Star, 11 Oct. 1967, Sec. 3, p. 43. Fulford remarks that in some of the sketches in Around the Mountain "semi-fictional or perhaps entirely fictional characters appear; but the core of each is the data (factual, emotional, or whatever) the author has gathered during his life in the city." Fulford then refers to how "more or less journalistic qualities--generalizations about Montreal society, physical descriptions of parks--are far more impressive than the actions and words of the characters themselves," and concludes that "In general, Around the Mountain indicates the stature Hood will achieve when he understands the real source and direction of his talent."
D263 Goldberg, Barbara. "Ancienne vague." Rev. of The Camera Always Lies and Around the Mountain: Scenes from Montreal Life. The Montreal Star, 14 Oct. 1967, Sec. Entertainments, p. 7. Although Goldberg describes the writing in Around the Mountain as "uneven," she praises "Around Theatres" highly and says that "the tales have a freshness and charm" which she finds lacking in The Camera Always Lies.
D264 Grantham, Ronald. "Great Canadian Metropolis Interpreted in Human Terms." The Saturday Citizen [Ottawa], 9 March 1968, Sec. 2, p. 24. Grantham finds that Hood's seemingly "easy, informal writing is in fact subtle." It produces "impressions, intuitions, that linger long in the mind." Grantham praises Hood's "fine ear for dialogue," his "skill in creating atmosphere," and the fact that he has "no fear of honest sentiment."
D265 Kilgallin, Tony. "Hood's Montreal." Canadian Literature, No. 36 (Spring 1968), pp. 94-95. Kilgallin comments briefly on each of the twelve scenes in Around the Mountain, and notes that "Narrative and exposition are juxtaposed coherently and naturally." He describes "A Green Child" as "a twilight-zone, Antonioni-like hallucination, with all the chill of a good Spanish fantasy," and regrets that "Hood plays this key only once in this collection."
D266 Stedmond, J. M. "Letters in Canada: 1967. Fiction." University of Toronto Quarterly, 37 (July 1968), 385. Stedmond indicates that some of the twelve sketches in the volume "recount what are apparently actual happenings," while "others have the form of fiction." Hood's view of Montreal is "a highly subjective one, almost a love affair between man and city, with no detail of the loved object too) small to note." Stedmond also remarks on Hood's "highly developed sense of place" and his "keen nose for atmosphere."
D267 Robertson, Anthony. Rev. of Creation, ed. Robert Kroetsch; Around the Mountain: Scenes from Montreal Life, by Hugh Hood; The Honeyman Festival, by Marian Engel; and Tillie's Punctured Romance & The Love Song of Rotten John Calabrese, by Charlie Leeds. West Coast Review, 6, No. I (June 1971), 53. Robertson describes Around the Mountain as "A collection of essays, some of them apparently non-fiction fiction," which reflect Hood's honesty and his acceptance of both the parts of Montreal which foster life and the parts which do not. Most of the essays are "mood pieces" which are "definitive of elusive moments within the ordinary." Hood "does not use his subjects as ways into himself'; rather, Hood's "attachment is to what moves between what he sees and his quizzical undetached self."
D268 Macdonald, Ian. Rev. of Around the Mountain: Scenes from Montreal Life and Dark Glasses. Quarry, 26, No. 4 (Fall 1977), 72-73, 74. "Hood's theistic concept of the universe gives the slices of human activity in the stories a spiritual illumination defying the absurd." "Hood, like Proust, believes in the allegorical significance of names, and has a powerful sense of landscape." Macdonald praises the attitudes, texture, tone, and style of Around the Mountain, along with the portrayal of the narrator, "a modern fictional character who is not neurotic." Yet in comparison with the "grace and ease" of the later stories in Dark Glasses, "Hood in Around the Mountain is someumes self-conscious."
D269 Long, Tanya. Rev. of Around the Mountain: Scenes from Montreal Life. In Canadian Book Review Annual: 1977. Ed. Dean Tudor, Nancy Tudor, and Linda Biesenthal. Toronto: PMA, 1978, p. 127. "Around the Mountain is a series of documentary fictions about Montreal" in which one finds "the urbane, witty, detached narrator commenting on people, places and situations around him and drawing from them various moral and philosophical conclusions." Hood has partly succumbed to the very temptation which he warns against in the book, the "'temptation . . . to observe without emotional commitment.' " Hood reveals a "lack of empathy, of imaginative involvement with his subject."
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- Part 2 Works on Hugh Hood; Selected book reviews; Dark Glasses
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Titles critiqued: DARK glasses (Book)
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; Dark Glasses
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D193 Duffy, Dennis. Rev. of Dark Glasses. The Globe and Mail, 2 Oct. 1976, Sec. Entertainment-Travel, p. 45. Duffy traces a pattern in Hood's use of narrative voice from "Recollections of the Works Department" to The Swing in the Garden, then comments that "no novel of Hood's has glowed with the vitality and earthiness of the finest of his stories." Dark Glasses "reveals how fitful are love's entrances into our world." Much of Hood's latest work is more tragic m outlook; and in Dark Glasses, "the powers of darkness are wheeling and dealing among the decent, ordinary folk who make up the typical Hood crowd."
D194 Adachi, Ken. "Hugh Hood Sombre in His Vision of Life." The Toronto Star, 12 Oct. 1976, Sec. F, p. 4. Underneath the appearance of "matter-of-fact surface detail" and "ordinary, undistinguished characters," lies "the unbearable reality which, once exposed, widens and reverberates." "Hood's vision of life. . . is much more sombre" than in his earlier stories, as his characters "become victims of the unseen but deeply felt powers of darkness." The collection, however, is "uneven in quality."
D195 Garebian, Keith. "Hood's Stories Probe for 'Inner Identities.'" The Gazette [Montreal], 16 Oct. 1976, Sec. 2, p. 18. Garebian contrasts the Proustian character of The Swing in the Garden and the Dantean qualities of Dark Glasses. In Hood's stories, "as in Dante, the drama of selfhood hinges ultimately on a reversal, a turn or change wherein psychic flexibility can produce moral redemption." Garebian finds that "The form of every story is created out of the main characters' sensibilities and preoccupations rather than by Hood's virtuoso power of omniscience." Dark Glasses "does full justice to the visible world and moves slowly but skillfully through the dark glass that screens man in an illusory solidity .... through the screen of a person's looks to the identity beyond, . . . an epiphany of truth."
D196 Fraser, Keath. Rev. of Dark Glasses. Quill & Quire, Nov. 1976, p. 32. "Any writer so adroitly aware of his craft as Hugh Hood is runs the risk of losing his reader midway through an elaborate metaphor." Often "Hood seems to be preoccupied with metaphor, like the professor of philosophy in 'The Hole.' " However, "nearly all the stories are clever and wry. And, while sometimes tiresome, they are more often than not meticulously successful in the play of descriptive detail."
D197 Morley, Patricia. " 'No ideas but in things.' " The Ottawa Journal, 6 Nov. 1976, Sec. C, p. 40. Although the material--"modern urban life--and style of Hood's stories are "unpretentious," everyday objects and events are nevertheless mysterious, and acquire "a significance larger than themselves." Hood's "low-key humour. . .is very much in evidence" in this collection.
D198 Needham, Alan. "Hood at His Best, Perceptive--At Worst, He's Insubstantial." The Saturday Citizen [Ottawa], 6 Nov. 1976, Sec. 3, p. 34. Most of the stories contain variations on the theme of deception or self-deception. Only "The Chess Match," in which Hood "adapts his style ingeniously to the fastidious requirements of his main character," and "Going Out as a Ghost," which "is full of those incidental observations of domestic life which Hood handles so well," are outstanding stories. At times Hood "is one of Canada's most accomplished writers"; but sometimes "he is self-indulgent and diffuse."
D199 Hospital, Janette T. "About 3 Books." Rev. of 76: New Canadian Stories, ed. Joan Harcourt and John Metcalf; Dark Glasses, by Hugh Hood; and The Lady and the Travelling Salesman, by Leo Simpson. The Whig-Standard [Kingston], 9 Nov. 1976, Sec. I, p. 7. "Hood pays his readers the compliment of considering them as intelligent collaborators in the story-telling process." Readers who are "alert and perceptive" are rewarded with "unexpected flashes of insight and enlightenment."
D200 Peterson, Kevin. "Writers and Words." The Calgary Herald, 12 Nov. 1976, Sec. Friday, p. 37. In Hood's world "The ever-present threat of a hostile nature, so typical of this country's fiction, is still there--but the Montreal writer leavens it with the signs of a century of civilization." Hood's couples "also hone instead of weld their sharp edges"; and although "Their routine on the surface seems boringly ordinary," they become surprisingly large.
D201 A[dachi]., K[en]. " 'Tis Season to Be Jolly but Not in Year's Fiction." The Toronto Star, 4 Dec. 1976, Sec. Entertainment, p. F9. Dark Glasses is a "collection of finely crafted short stories of private lives in crisis, lost in a maze without signposts."
D202 White, Sybil. "Hood Short Stories." The Spectator [Hamilton], 11 Dec. 1976, Sec. Features/Entertainment/Movies, p. 42. Hood's "stories are lucid, horrifying and hauntingly possible." Sometimes the horror is "blatant"; but usually it is "subtle." "Hood looks at the world as if through dark glasses and sees a mysterious, threatening place where 'madness lies in wait all round.'" He "renders the ordinary chilling." "Dark glasses envelop the wearer in an aura of 'swimming deception.'" The theme of deception "surfaces constantly in Dark Glasses. The young deceive the old, men deceive women, and most appalling, man deceives himself."
D203 Clever, Glenn. Rev. of A New Athens and Dark Glasses. Canadian Fiction Magazine, No. 27 (1977), pp. 148-49. Clever praises the stories for provoking thought and for "their clear easy style and variety of people and situations and themes." He suggests that the twelve stories are "thematically focussed by the story titled 'Dark Glasses.'"
D204 Long, Tanya. Rev. of Dark Glasses. In Canadian Book Review Annual: 1976. Ed. Dean Tudor, Nancy Tudor, and Linda Biesenthal. Toronto: Peter Martin, 1977, pp. 155-56. Long greatly enjoys Hood's "subtle sense of humour" which is complemented by "a new darker coloration" emerging "in even the most ordinary, decent-looking life." Characteristically, "Hood likes to dwell on the essence of ordinary objects and events and to see in them their transcendent life." Long praises "Hood's ability to write from a woman's point of view," as well as his treatment of "old age." However, the collection is "not always successful" since some of Hood's stories, like the title story, did not involve and convince her.
D205 Wadsworth, Barbara. Rev. of Dark Glasses. Canadian Materials: An Annotated Critical Bibliography for Canadian Schools and Libraries, 5 (Winter 1977), 41. Wadsworth commends Hood's ability to depict a great range of human problems and relationships in Dark Glasses. "The stories are well-written and interesting; however, as one reads the later stories in this edition, the themes and ideas become quite complex and philosophical."
D206 Martin, Sandra. "Hugh as in Chop and Hugh as in Tint." Rev. of The Legs of the Lame and Other Stories, by Hugh Garner; and Dark Glasses, by Hugh Hood. Books in Canada, March 1977, pp. 40, 41. "Hood's fiction is disturbing and often puzzling"; his approach and concerns are "intellectual" and sometimes even "academically effete." Hood makes a "commonplace" metaphor "powerful" in the title story, "and uses it as a central theme for the collection. Time after time, the author focuses a cold analytical eye on his subjects as they slip in and out of their protective shields."
D207 Weinzweig, Helen. "Middle Class Wasps." The Canadian Forum, March 1977, pp. 30-31. Weinzweig carefully draws attention to Hood's delicate craftsmanship. There is "a cumulative effect" created by "the subdued prose, the throwaway lines, the steadiness of his gaze." The endings of Hood's stories "mark a momentary halt in the flow of circumstance." His characters "permit themselves a small surge of irascibility or regret or hope, but quickly repress such feelings and go on."
D208 Struthers, J. R. (Tim). "Deeper by the Dozen." The London Free Press, 16 April 1977, Sec. 2, p. 23. Hood's work is discussed in the context of the English Romantic Movement and his stories are compared with the conversation poems of Coleridge and Wordsworth, "which begin with the perception of a simple object and then grow, through contemplation, into an elaborate meditation or tale." Hood "makes us recognize how objects. . . are the meaningful indices of unknown private depths and complicated personal relations, or the signs of a certain society's mores, the icons of a particular place and time." Unlike The Swing in the Garden, however, Dark Glasses "seems to explore not the imaginative possibilities of place but the moral possibilities of everyday circumstance." Hood's reputation "as a masterly short story writer" is supported by numerous stories in the volume, "although a few stories may perhaps appear to be mere exercises with concepts rather than real stories."
D209 Murphy, Cherry. "Novels of the Week: Funny Man." Rev. of And Now for Something Exactly the Same, by Paul Jennings; The Madman, the Kite and the Island, by Felix Leclerc; Dark Glasses, by Hugh Hood; and Bloodbrothers, by Richard Price. The Irish Times, 28 May 1977, p. 10. Murphy praises Hood's "extreme professionalism," and states that "He writes with such precision, clarity and accuracy that one seems to be actively involved in whatever he happens to describe." After mentioning "An Allegory of Man's Fate," "The Chess Match," and "Going Out as a Ghost" in particular, Murphy acclaims Dark Glasses as "an excellent book from cover to cover."
D210 Solecki, Sam. "Letters in Canada: 1976. Fiction: I" University of Toronto Quarterly, 46 (Summer 1977), 343, 346-47. Dark Glasses is one of only two Canadian books of fiction published during 1976 which "are in any fully critical sense memorable." Solecki praises the "assured control of tone and narrative movement," yet emphasizes the predominance of "social, moral, political, philosophical, and religious themes" over form in Hood's writing. Though "realistic in mode," Hood's fiction often "suggests a symbolic or even parabolic dimension, and the reader always senses a didactic tendency." "Hood is not a technically innovative writer like Ray Smith or Dave Godfrey but . . . he does take risks with his fiction, extending its borders into kinds of discourse avoided by most of his con- temporaries."
D211 Mellors, John. "Brown-Paper Man."' The Listener, 8 Sept 1977, p. 318. "Hood deals adroitly and ingeniously with obsessions and fetishisms." Mellors praises Hood as "a clever and original writer" who "gives us a new slant on urban Canada"; however, he objects that sometimes Hood "seems to be playing with his characters without really believing in them."
D212 Cameron, Barry. Rev. of Dark Glasses. The Fiddlehead, No. 115 (Fall 1977), pp. 145-47. Cameron emphasizes the necessity of reading Hood's fiction analogically or typologically. "Hood is not writing formal allegories but stories about the real world as he sees it. His method, however, is Raphael's rhetorical 'accommodation' in Paradise Lost--from shadowy types to truth'--which is strikingly appropriate in terms of the epigraph for Dark Glasses." Cameron discusses how the stories are structured to "move redemptively from now to then, from an earthly Dantean inferno or purgatorio to a heavenly paradiso, from suffering to bliss, and from a tragic vision to a comic vision of life." "Hood writes out of the great tradition of western literature, and looking at his accomplishments in the limited context of Canadian literature can only lead to a debilitating judgment of his real and brilliant achievement."
D213 Latham, David. "Optical Allusions." Essays on Canadian Writing, Nos. 7-8 (Fall 1977), pp. 105-08. In Hood's fiction "The surface seldom is engaging enough to stand alone and the symbol often remains too insistently at the forefront of the narrative." Yet "At his best Hood succeeds in complementing the physical form of his stories with an inner scaffolding developed through the manipulation of metaphors which seem to emerge from within the incident." While Latham states that Dark Glasses contains "three or four of the best examples in all of literature of how the short story works," he criticizes the occasions when Hood imposes an extrinsic pattern on his fiction or when Hood does not develop an intrinsic metaphor. "Hood can objectify his metaphysical speculations into a story through the manipulation of metaphor but when he fails with metaphor he has no skill with character or incident to fall back on." "Hood's gifts are more suited to journalism." For Hood's reply, see B110.
D214 Macdonald, Ian. Rev. of Around the Mountain: Scenes from Montreal Life and Dark Glasses. Quarry, 26, No. 4 (Fall 1977), 73-74. In comparison with "the rigid narrative control of Around the Mountain," Dark Glasses appears "more relaxed, with room for humour, pathos and fantasy. There is less dependence on external detail and greater exploration of the subconscious." "Events are linked in Hood's cosmology and individual responsibility cannot be evaded." Most of the stories in Dark Glasses reveal "an understated reverence" for "family relationships" and "the sanctity of the marriage bond" which offsets any irony. While MacDonald is dissatisfied with Hood's handling of the main character in "A Near Miss" and in "The Hole," he finds Hood generally less "self-conscious" in Dark Glasses than in Around the Mountain and concludes that "taken together, the stories in Dark Glasses are proof that he now handles the medium with grace and ease."
D215 Schoemperlen, Diane. "Fictional Explorations." Rev. of Dancing Girls and Other Stories, by Margaret Atwood; and Dark Glasses, by Hugh Hood. Waves, 6, No. 3 (Spring 1978), 90-91. Schoemperlen attempts to compare the two books under review as "collections of stories which explore rather than explain the human head," and to demonstrate "differences in outlook and approach between Atwood and Hood." "Hood's humour usually comes as the hook at the end of a paragraph, undercutting all the seriousness that has come before." Schoemperlen finds in both books "curious confusions and unexpected permutations of viewpoint which suggest that perhaps reality is neither as solid nor as external as we have been led to believe."
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
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Record: 236- Title:
- Part 2 Works on Hugh Hood; Selected book reviews; Flying a Red Kite
- Other Title:
- Part 2 Works on Hugh Hood; Selected book reviews
- Record Type:
- Reference Series
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Criticism & interpretation -- Bibliography
Titles critiqued: FLYING a red kite (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 2: Works On Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP2
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; Flying a Red Kite
Struthers, J.R. (Tim) (compiler)
D153 Edinborough, Arnold. "A Hood Full of Joy." Toronto Daily Star, 14 Nov. 1962, Sec. 3, p. 40. Edinborough praises the "perfectly handled" style and other aspects of Hood's stories and stresses that Hood's writing, although "seemingly realistic and firmly anchored in Montreal, Toronto or wherever, . . . is also in a timeless unlocalized place existing solely in Hood's and our imagination."
D154 Stainsby, Donald. "Hugh Hood's Glitter Pure Gold after All." The Sun [Vancouver], 7 Dec. 1962, Sec. Leisure, p. 5. Hood is "a formidable new talent," whose "prose flows beautifully" and whose "insights are often challenging." Hood's style, like many of the stories' principal characters--artists, film-makers, writers, editors, and interior decorators--appears "ever so chic." Stainsby identifies this style as an "American style, the style of the remaining great magazines, the style of Esquire," which, with the exception of Hood's work, he abhors.
D155 Bedingfield, Dolores. "Sense of Delicacy Evident." The Globe and Mail, 8 Dec. 1962, Sec. 2, p. 22. At his best, Hood shows "exquisite sense of delicacy," "constraint," and "ability to convey fleeting emotion." He is also "keenly aware of the many faces of innocence." The stories are most successful when the author works from a central, commanding image.
D156 Godfrey, Dave. "Turning New Leaves (2)." The Canadian Forum, Jan. 1963, pp. 22-30. Hood's prose style 'is as lyrical, precise, individual, and witty as that of anyone writing today." At his best, Hood writes "polished and complex stories." Godfrey comments specifically on almost all of the stories, and on their relations to one another, and he draws attention to the "particularly fine use of detail to strengthen meaning in 'Nobody's Going Anywhere!'"
D157 Beattie, Munro. "Critic's Choice: A New Canadian Writer of Free Short Stories." The Ottawa Citizen, 5 Jan. 1963, p. 22. Welcoming Hood as "a new Canadian writer of great talent," Beattie examines each of the stories in some detail. Hood's writing exhibits "an unfailing sense of places and types," and Beattie says that "Except for Morley Callaghan, no writer has ever captured so much of the look and feel of Toronto." Hood remembers facts "accurately and affectionately" and "is more 'documentary' than any other Canadian writer I can think of." Yet he also "has the gift, beyond documentary exactness, of investing these factual fragments with significance." Hood's stories reveal "a keen ear for speech rhythms, a sharp eye for the gestures that identify personality, and a sure instinct for narrative time and proportion." They also "show considerable variety of type."
D158 Waugh, Thomas. "THE GREATEST." The Telegram [Toronto], 12 Jan. 1963, Sec. 2, p. 35. Waugh states that "Hood writes as no other Canadian writer can -- not Richler, not Callaghan, not MacLennan." "Such talent," he adds, "appears once or twice in a generation, and it will not be silenced." Waugh praises the richness and variety of Hood's sentences, which he finds worth re-reading. He praises Hood's technical skill, although he feels that Hood, like many writers of his time, may seem to lack imagination to some degree. These are "stories of character rather than incident."
D159 Bird, Will R. "In the World of Books." The Evening News [New Glasgow, N.S.], 16 Jan. 1963, p. 4. Bird praises the entire volume. Hood's "viewpoints are unmistakably college and big city influenced." Hood's stories "are for this day and age"; they are "very good, and yet so different from fiction of forty years ago."
D160 Fulford, Robert. Rev. of Flying a Red Kite. The Canadian Reader, 4, No. 5 (March 1963), 2-3. Hood "is the most interesting young prose writer to turn up in English-speaking Canada in several years, and possibly he is a good deal more than that." Hood 'is also a very puzzling writer" because of "his unlikely blending of fiction and fact." Fulford examines the range of some of the selections under the categories of "Fact," "NearFact," "Fiction-Based-On-Fact," and "Satire."
D161 Dobbs, Kildare. "Memory Transfigured." Canadian Literature, No. 16 (Spring 1963), pp. 72-73. Hood "resembles American writers like Updike rather than any Canadian predecessor." Dobbs praises Hood's ability to handle first-person, third-person, masculine, and feminine points of view with equal success as well as Hood's mastery of the English sentence. In form, Hood's "stories follow the shape of a meditation rather than a plot"; and, while "The patient accumulation of sensuous detail induces recognition of place as well as of people," Hood's stories aren't narrowly patriotic but "are about life and death and eternity." Dobbs suggests that the ending of "Three Halves of a House" recalls Joyce's Finnegans Wake.
D162 Hornyansky, Michael. "Countries of the Mind II." Rev. of Occasion for Loving, by Nadine Gordimer; The Hidden Mountain, by Gabrielle Roy, trans. Harry Binsse; and Flying a Red Kite, by Hugh Hood. The Tamarack Review, No. 27 (Spring 1963), pp. 87-89. Hornyansky discusses Hood's work in terms of the metaphor of the fiction writer "as a cosmographer, discovering and mapping the countries of his mind." He considers Hood's stories to be "brilliant," although he detects one weakness, the fleeting and disquieting sense that he is watching a skillful, arranged performance, an apprenticeship, the deliberate budding of a career.
D163 Percy, H. R. Rev. of Flying a Red Kite. The Canadian Author & Bookman, 38, No. 3 (Spring 1963), II. "Oddly enough," Hood's work most succeeds "when it gets away from fiction altogether." Percy regrets that the stories contain little of "the compassionate humour" which characterizes Hood's own memories, and that instead they tend -- albeit "skillfully and obliquely" -- towards tragedy and hopelessness.
D164 T[aaffe]., G[erald]. Rev. of Flying a Red Kite. The Montrealer, April 1963, p. 57. Taaffe speculates that if all of the stories in Flying a Red Kite had been of equally high quality, the book would have represented "one of the most perfect collections of short stories seen in Canada since the early Morley Callaghan." As it stands, however, the volume appears to exhibit "as widely diverse a set of styles as can be imagined in a single writer." Taaffe thinks that the collection "could have been much better."
D165 O'Neill, Dan. "Short and Different." The Hamilton Spectator, 6 April 1963, Sec 2, p. 35. Hood's stories scorn conventional and closed plot structures in their attempt to consider the effects of life upon certain characters.
D166 Parr, Jack. "Something Wonderful." Winnipeg Free Press, 27 April 1963, Sec. Modern Living, p. 4. Parr emphasizes the originality and excellence of "Fallings from Us, Vanishings." The "theme of time--the difficulties of trying to hold on to it, and the anxieties resulting from seeing it march efficiently by--is developed in several of the other stories, but nowhere as impressively, and as disturbingly as it is in this one." Most of the stories exhibit an "unsettling sense of moral anguish."
D167 Erskine, J. S. Rev. of Flying a Red Kite. The Dalhousie Review, 43 (Summer 1963), 264-65. Erskine criticizes the serious loss of effectiveness in the stories in which the evocative aura of the Canadian background is lacking. He is also critical of Hood's characters: "Generally these are reasonable people in whom the instincts and emotions that normal flesh is heir to are pale background music.... They will never know the stories of passion or the sick hunger of despair."
D168 Mills, John. "On the Way Up." Evidence, No. 7 ([Summer 1963]), pp. 107-10. Mills praises Hood's "exactness, purity and jubilant eloquence almost unique in contemporary Canadian fiction." The stories are characterized by "a discursive, exploratory use of minor, lightly surprising incidents ('asides,' perhaps) which freely associate in and around each central narrative in a manner often thought more appropriate to the novel." However, Hood's stories appear to touch upon complex problems or emotions and then to evade them "a little too blithely." Thus, "the richly imaginative quality of these stories becomes set. . . against their underlying thinness of theme." Hood's vision seems "overcivilised and conceptual," although Hood is certainly aware of this and even satirizes it.
D169 Watt, E. W. "Letters in Canada: 1962. Fiction." University of Toronto Quarterly, 32 (July 1963), 391-94. The nine short stories among the eleven pieces in this collection "have (at their best) the authenticity of documentary and autobiography, coupled with the detachment possible with purely imagined matter." "Hood is a lively, restless, versatile stylist" and his stories reflect great range in subject.
D170 Lane, Lauriat, Jr. "Fiction and Fact." Queen's Quarterly, 70 (Fall 1963), 451-52. While Hood "clearly has a good eye for a potential story," nevertheless "awkwardnesses in shape, movement, or control of detail" and two particular mannerisms make the collection "uneven." Hood succeeds in rendering "the immediate physical circumstances" of a nuclear catastrophe "with intensity" in "After the Sirens" and that the best stories "re-create with force and precision . . . moments of full awareness and illumination." However, in "Silver Bugles, Cymbals, Golden Silks" and "Recollections of the Works Department," the "autobiographical renderings of events" do not fully capture the essence of the experiences.
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Titles critiqued: RESERVOIR ravine (Book)
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Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; Reservoir Ravine
Struthers, J.R. (Tim) (compiler)
D129 Duffy, Dennis. Rev. of Reservoir Ravine. The Globe and Mail, 25 Aug. 1979, Sec. Entertainment-Travel, p. 36. Fire and ice emerge as the central images of the book in the personalities of Isabelle Archambault and her husband, Andrew Goderich. These images also dominate the two most spectacular scenes--the burning of the banknotes and Isabelle and Andrew's tour through the icehouse. Hood's descriptions of these incidents demonstrate "his acute sense in his fiction of the wondrous nature of this world." The book contains devices that are characteristic of The New Age/Le nouveau siecle: "a rich layer of patterning and association embracing every event, a wide-ranging reflectiveness upon a number of matters," and lengthy commentaries on various objects and incidents that interest Hood. The loss felt by the generation that experienced the Depression is echoed in the "desperate sadness" of the narrator, and "the memory of a fallen world spills over every incident."
D130 Garebian, Keith. "A Reappraisal of the Mind through the Time Machine." The Montreal Star, 25 Aug. 1979, Sec. Entertainments, p. D3. "Hugh Hood is our grand Canadian original whose fiction (especially in . . . The New Age) makes long associative chains that link to the deepest, widest, most repercussive truths of human and divine agencies." Allusions are made to James Joyce, Marcel Proust, and Anthony Powell, but Garebian emphasizes Hood's originality). In Reservoir Ravine, Matthew Goderich's "mature voice . . . explores 'spots of time' in a fluted, creased movement." Like Tristram Shandy, the book begins "before its chief protagonist's moment of conception" and "is really about his remarkable parents." Matt's "parents' past inhabits him, and it's as if he had a history before birth." Matt's " 'personal pantheon'" of friends and relatives add "to the fund of human memory through which we reconcile past and present, and reach a future synthesis. Garebian discusses the structural and "sacramental" importance of marriage in the book and in Hood's general perspective on literature. "The novel is rife with benign comedy," which uses "art, religion, philosophy, history, and politics to join earth to heaven.'" "All honour to him, the emblematic encyclopedist, who knows his subject from A to Z, and who sees personal and public histories in their own ways as recapitulations of the immortal story of the fall and redemption of man."
D131 Owen, I. M. "Two Steps Forward, Three Steps Back." Books in Canada, Aug.-Sept. 1979, pp. 15-16. Reservoir Ravine "doesn't quite stand on its own as a novel," unlike its predecessors in The New Age/Le nouveau siecle. Although Matt's parents "are thoroughly engaging," Hood's use of a "first-person narrator who wasn't born when the events he narrates took place" seems awkward. The book reads too much like research, since "the nostalgia is second-hand."
D132 Fraser, Graham. "Symbolic Particulars: At His Best, Hugh Hood Creates a World that One Can Almost Walk Through." Rev. of Reservoir Ravine, by Hugh Hood; and Before the Flood: Our Exagmination round His Factification for Incamination of Hugh Hood's Work in Progress [Essays on Canadian Writing, Nos. 13-14 (Winter-Spring 1978-79)], ed. J. R. (Tim) Struthers. The Gazette [Montreal], 8 Sept. 1979, Sec. Entertainment, p. 73. "Hood is writing a kind of archaeological fiction." "At his best, he creates a powerful sense of the intrusion of events and physical details on inner life, and a world . . . that one can almost walk through. At his worst, he can be rambling, sententious and self-indulgent." Neither Hood nor Matt "has much of a sense of humor" and "both take themselves extraordinarily seriously." Hood is best known for his short stories, a reputation with which he is unhappy. "With Scott Symons, he is one of the few Canadian novelists since MacLennan to explore" the French-English cultural/conflict in Montreal. "With his ambitious 12-novel cycle, the sense of physical detail has increased, and some of the simplicity has been lost. And, perhaps unjustly, he remains a relatively obscure figure in Canadian letters."
D133 Middlebro', Tom. "Ambitious Ont. Saga Unflagging." The Weekend Citizen [Ottawa], 15 Sept. 1979, Sec. Tempo, p. 35. Matt's fondness for subjects from Goderich family history "excuses his inability to quite cut the imaginative umbilical cords and give them autonomy." "The novel contains some sharply realized individual scenes, . . . and the whole book is permeated with the author's intense religious feeling for the continuity and value of family life, and his sense of wonder at the nature of time." "Occasionally the liturgical chronicling mind of the narrator. . . strays into platitudinous moralizing, but usually he documents social setting in a lively gossipy manner quite unique." Hood's "imagination gives no signs of flagging."
D134 Hancock, Geoff. "Epic Novel of Canada's Past Smells of the Library." Saturday Star [Toronto], 22 Sept. 1979, Sec. Entertainment, p. G7. "Hood's writing is impeccable, his tone flawless in his evocation of the agreeable feelings of romance," but from his story or "clothesline" Hood "hangs great sheets of ideas; history, theology, ethics and politics flap through the pages." "Curiously, both the roaring twenties and a decent snowstorm bypass the agreeable Toronto of Reservoir Ravine." At times, Hood's "fascinating historical details smell of the reference library." Hood's "much needed digression on the Winnipeg General Strike is well written, but "seems a lump in the middle of the book: perhaps it is a blunt pointer into a future volume of The New Age?" Overall, "There's no anger, no bitterness. There's just an ivory-tower attitude that rationality and intellectual debate will solve our problems, be they ethical, political or financial. As a work of art, Hood's achievement promises to be considerable. As a view of life, his characters are metaphors; their religious undertones and allegorical intent seem narrow and outdated. Whale trying to explain to Canadians who they are, Hood might lose his audience."
D135 Morley, Patricia. "Hugh Hood Tops List of Fall Fiction." Rev. of Reservoir Ravine, by Hugh Hood; and Before the Flood: Our Exagmination round His Factification for Incamination of Hugh Hood's Work in Progress [Essays on Canadian Writing, Nos. 13-14 (Winter-Spring 1978-79)], ed. J. R. (Tam) Struthers. The Ottawa Journal, 29 Sept. 1979, Sec. D, p. 53. Reservoir Ravine "is one of [Hood's] best novels to date," and its dry humour "structures and enlivens the social history that fleshes out the text." His description of the burning of the banknotes "is macabre, grotesque, and hilarious: a comic masterpiece." Comparing Hood to Margaret Laurence, William Faulkner, and James Joyce, Morley states that "Hood is building a mythical world of his own" in The New Age/Le nouveau siecle through his treatment of several generations of the Goderich family.
D136 Solecki, Sam. "Songs of Innocence." Rev. of Before the Flood: Our Exagmination round His Factification for Incamination of Hugh Hood's Work in Progress [Essays on Canadian Writing, Nos. 13-14 (Winter-Spring 1978-79)], ed. J. R. (Tim) Struthers; and Reservoir Ravine, by Hugh Hood. The Canadian Forum, Oct. 1979, pp. 29-30. While Solecki agrees with the claims of many of Hood's supporters, he thinks that Hood's work is "both artistically flawed and limited in its vision of man." The use of historical figures and events "arouses justified expectations of realism and historical accuracy in the reader," but "the series lacks, so far, a profound sense of social relations and historical conflict." This weakness arises from Hood's depiction of a limited number of characters and from "the effect of his Catholicism on his fiction." Either Hood has "avoided dealing with the more problematic aspects of personal and historical reality or else he has treated them in a simplistic fashion."
D137 Kellythorne, Walter. "A Chronicler of Canada." The Sunday Colonist [Victoria], 7 Oct. 1979, Sec. Entertainment, p. 39. "Hugh Hood is the most talented and daring writer in Canada." The chapter narrated by "'Hal from the 'peg,' " which is "Reminiscent of Dos Passos, and seemingly unconnected to the rest of his book," consists of "crystal clear prose" and "chronicles the history of Winnipeg in a way that makes utterly clear the importance and significance of that place and [its] people" just after World War I. Kellythorne cites the passage in which Andrew coins the word "existentially" as an example of Hood's "'uncannily good . . . indications of the fictional present and foreshadowings of the future." Although "Hood's prose style is often convoluted and his tone is "excessively arch," and although he views "Toronto as the centre and sum of... the cosmos," Hood "makes virtues out of what others may view as faults."
D138 Ross, James. "The City as a Cultured and Desirable Place." The Spectator [Hamilton], 13 Oct. 1979, Sec. Weekly Review-Entertainment, p. 22. Ross finds it "refreshing" that Hood depicts the city, rather than "small-towns and farms." Reservoir Ravine is "a work of social history and . . . a novel. The details are exact . . . [or] they seem to be because they are so convincingly handled." The novel has a "leisurely," "pleasant" pace, except during the occasional "philosophical conversations" in which "the narrative lags" and "character development halts." Hood tends to introduce "pontifical statements, abstractions and other manifestations of a philosophical bent"; and, although "Andrew is a philosopher," this tendency is still not "entirely forgivable in a novel." The shift in narrative voice when Matthew is born is a "major structural flaw," mainly because "Matthew... comes off as a bore." "One chapter, in which Matthew ruminates at great length on the meaning of life, should have been left out."
D139 Macfarlane, David. "A Rosedale Proust in the Making." Maclean's, 22 Oct. 1979, pp. 57, 58. Reservoir Ravine "demonstrates that [Hood] is easily the most accomplished writer in this country today." The New Age/Le nouveau siecle 'may prove to be the single most important Canadian work of our time." Hood's "sense of history" and "stern moral conviction that things . . . add up" overshadow "minor flaws" such as limited humour, lack of psychological detail, and a "not entirely believable" casting of the protagonist as an art historian.
D140 Dawe, Alan. "Step Back Takes Us On in The New Age." The Vancouver Sun, 26 Oct. 1979, Sec. Leisure & TV Week, p. 35L. Hood's The New Age/Le nouveau siecle "gets better and better" and "will slowly gain recognition as the major achievement it is and promises to be." Hood's "novels celebrate Toronto as a place. In keeping with Andrew's profession, they maintain a solid strand of philosophical and religious discussion. They dramatize historical events by showing how the central characters had been involved in them." Isabelle and Andrew's romance is "almost too idyllic" and "the only suggestion we have that Isabelle might have wanted something more creative out of life is the pile of unsold movie scripts that Matt discovers."
D141 Ayre, John. "As Proust, Hugh Hood Falls Short." Saturday Night, Nov. 1979, pp. 44-45. "Hood appears to be too unsuffering and sophomoric" to be classed with Faulkner or Proust, "and too digressive and undisciplined" to be classed with Wodehouse or de la Roche, the "successful cycle novelists," although the "novel starts as a comedy with classical personae." Matthew Goderich, "the agreeable, sometimes confused, often tedious" central character of Hood's novel cycle, becomes, towards the end of Reservoir Ravine, "a boorish whiner fixated on problems he himself has no faith in." The "relentless journalistic cataloguing" of The Swing in the Garden is now gone--as is Hood's "first person singular until, alas, the critical ending" of Reservoir Ravine. These changes make "Hood's habit of factual digression all the more irrelevant and structurally clumsy, because the narration is no longer associated with Matthew's magpie mentality." "Unfortunately we never know for sure whether Hood himself is being serious or is deviously slipping Matthew bad lines."
D142 Gilmore, Anne. Rev. of Reservoir Ravine. Quill & Quire, Nov. 1979, p. 30. Reservoir Ravine "is the least satisfying" volume of The New Age/Le nouveau siecle. "Although filled with well-conceived characters and many finely written scenes, the novel does not stand on its own." "The book is further handicapped by Hood's predilection for instructing the reader, frequently at the expense of artistry." Gilmore notes Hood's "short and somewhat awkward side-trip to Winnipeg during the General Strike of 1919."
D143 Good, James M. "No. 3 in Hugh Hood's Saga and an Analysis of His Work." Rev. of Reservoir Ravine, by Hugh Hood; and Before the Flood: Our Exagmination round His Factification for Incamination of Hugh Hood's Work in Progress [Essays on Canadian Writing, Nos. 13-14 (Winter-Spring 1978-79)], ed. J. R. (Tim) Struthers. The London Free Press, 17 Nov. 1979, Sec. Features, p. B4. After noting Hood's aim of producing a twelve-volume novel cycle dealing with twentieth-century Canadian life, Good observes that "Hood's strength is in taking the seemingly commonplace, the trivial . . . and revealing a meaning and significance." The descriptions of historical events and nostalgic details of the 1920s allow this book to function as a kind of introduction for the series. However, many of the characters seem to exist because of their importance to Matthew, and the reader knows Matthew well only by reading the earlier volumes. In this regard, Reservoir Ravine "does not entirely stand on its own."
D144 Williamson, David. "Novel-as-Catalogue Continues Hugh Hood Epic." Winnipeg Free Press, 24 Nov. 1979, Sec. Leisure, p. 6. Williamson quotes from two letters that he received from Hood and wonders if Hood should be judged "By the standards he suggests"--Tolstoy, Joyce, Proust, and Powell--or "on the same scale as that of the mere mortals who are currently hacking away here in Canada." Hood's detail about the 1920s is "well-written and obviously well-researched .... He is right when he labels this work as an 'encyclopedia novel.' " By making " 'Hal from the 'peg' " narrator of one chapter, Hood "simulates an 'I was there' account" and "takes the first major step toward one of his artistic goals--to create a truly 'pan-Canadian' work." "The railway once again is a major motif," but nowhere else in The New Age/Le nouveau siecle is it figured "as brilliantly as in the first 60 pages of Volume Two, which I believe is still the best-sustained section" of the series. "Reservoir Ravine seems at times unnecessary to the grand design .... If this book labors under too much factual and philosophical history and offers too little human insight, we cannot say we were not warned."
D145 Adachi, Ken. "A Savory Feast for Lovers of Good Fiction." Saturday Star [Toronto], 8 Dec. 1979, Sec. Entertainment, p. G10. Adachi commends Hood "for persistence and ambition." Reservoir Ravine contains "Plenty of local color as his characters criss-cross the Toronto of the 1920s."
D146 Body, Marjorie. Rev. of Reservoir Ravine. Canadian Book Review Annual: 1979. Ed. Dean Tudor, Nancy Tudor, and Kathy Vanderlinden. Toronto: PMA, 1980, p. 109. Body comments on Isabelle Archambault's similarity to a Henry James character, the cliched meetings of French and English Canada and of the West and the East, and Hood's "tokenism." Hood "fails to bring Miss A. to life, and she remains shrouded in the mists of the time/distance which separates her from her creator." Isabelle's "missgoody-two-shoes . . . virtue is rivalled only by Hood's depiction of his beloved Toronto the Good." Reservoir Ravine is "an historical and philosophical treatise thinly disguised as a novel."
D147 Bartlett, Brian. Rev. of Reservoir Ravine. Quarry, 29, No. 2 (Spring 1980), 93-96. After a discussion of some of the principal characters, Bartlett finds Reservoir Ravine "uneven" in comparison with "'Hood's. . .supreme novel," A New Athens. Reservoir Ravine is too closely tied to historical events, too forced; it lacks the earlier novel's relaxed concern with personal matters lying on the periphery of history-making events. Still, there is much in Reservoir Ravine that is rich, especially the masterfully detailed sentences Hood often provides.
D148 Waller, Gary F. "New Fiction: Illumination, Participation, Tact." Rev. of Shotgun and Other Stories, by Kent Thompson; Jennifer, by David Helwig; Reservoir Ravine, by Hugh Hood; So Long, See You Tomorrow, by William Maxwell; and Winter Journey, by T. Alan Broughton. The Ontario Review, No. 12 (Spring-Summer 1980), pp. 94, 96-97, 98, 99. Hood, "in the stylus dei tradition of Augustine, Dante, Spenser, Milton and Chesterton. . .speaks with the authority of the Divine" and writes "what he terms 'documentary fantasy'" and " 'super-' or 'transcendental' realism, thus assimilating 'the novel to the mode of fully-developed Christian allegory.' "However, in practice, his "allegorical structure is clear, bordering on the simplistic, and without intensity or illumination. His characters are pompous and pretentious; his style is either clogged with unassimilated lists from Eaton's catalogues or topography, or sentimental or wordy; his moral observations superficial or, where they do require the reader's active deciphering, unrewardingly simplistic." Hood "seems unable to evoke. . . the mystery, complexity, unpredictability, dislocation or even the redemption of twentieth-century life."
D149 Bilan, R. P. "Letters in Canada: 1979. Fiction: 2." University of Toronto Quarterly, 49 (Summer 1980), 324-25,333-36. Hood's The New Age/Le nouveau siecle is one of the "most interesting" developments in Canadian fiction of the late 1970s, and Reservoir Ravine is the best of the series so far. Bilan notes that "marriages, births, etc. have a central place in Hood's work, which is devoted to a celebration of ordinary life and of what Hood sees as its sacramental quality." However, Hood's frequent digressions "to describe the social-historical background," his obsession "with the local," which precludes "a sufficiently broad or penetrating social picture and analysis," and his failure "at times to provide a dramatic rendering or re-creation of his material" are major faults in the novel, which "at its worst. . . reads like something out of a textbook and succeeds neither as fiction nor as history." One "notable exception" is the evocation of the Winnipeg strike of 1919, which is enlivened by "Hal's colloquial language." This section and the long penultimate chapter do, however, raise structural problems and threaten to unravel the novel. "Matt's long meditation on Being and God . . . is integral to the novel, .... interesting" at the beginning, but banal towards the end -- this is mainly a problem of non-dramatized monologue. Hood's Christian vision, his presentation of life as "essentially placid, peaceful, rational," makes Bilan wonder if Hood will be capable of expressing "the forces of unreason" in future volumes of the series.
D150 Mountford, C. H. Rev. of Reservoir Ravine. CM: Canadian Materials for Schools and Libraries, 8 (Summer 1980), 147. "Hood is a fine talent indeed for those whose tastes run to the slow accumulation of detail." Reservoir Ravine's "lapidary style, its layers of words and ideas demand close attention." "The characters develop so slowly that one can assume that they will be understood fully only when the complete cycle" has been published.
D151 Brydon, Diana. "Retrieving the Past." Rev. of Reservoir Ravine, by Hugh Hood; and A Family Album, by William Bauer. Canadian Literature, No. 87 (Winter 1980), pp. 139-40. Brydon agrees with Woodcock (C110) that Hood is closer to Balzac than to Proust, and argues that "Reservoir Ravine represents an imaginative act of memory at a double remove." Hood's use of narrative point of view and his integration of "personal, national and universal history into a religious design" are discussed. Although "Reservoir Ravine is not entirely successful," Brydon remains fascinated by the ambitions of this novel and of The New Age/Le nouveau siecle.
D152 Orange, John. Rev. of None Genuine Without This Signature and Reservoir Ravine. The Fiddlehead, No. 133 (July 1982), pp. 85, 87-88. The form and the style of The New Age/Le nouveau siecle "best display Hood's strengths as a writer. The weaknesses are evident too, but they are more acceptable because they seem to grow inevitably out of the form Hood has chosen. The plots and characters are loosely combined with descriptive and interpretive history, philosophical discourse, symbolically designed episodes, and meditations on a variety of subjects which range from the mundane to the metaphysical. Fiction, essay, anatomy, lecture, catalogue--they are all there. In all there are three narrative voices to listen to, though they do not sound all that different from each other." Andrew Goderich's vocation as a philosopher and teacher is, for Hood, "a convenient way to set down meditations on such topics as the sources of ascribing value to things, morals and ethics, Roman Catholic theology, the nature of Being, and assorted other political and cultural issues." "Hood's use of fire and ice as central informing symbols (passion and reason, female and male, vitality and contemplation, event and concept, Isabelle and Andrew, earth and heaven, etc.) is interesting and impressive." Orange praises Hood's "lucid prose" and stylistic "momentum," yet also notes that the novel "seems to sag out of shape at times." Furthermore, "the novelist sometimes loses control of his material and falls into self-indulgent interludes and curious lapses of taste when he strains for effect." The switch in narrative point of view for the chapter on the Winnipeg Strike "seems out of place, eccentric"; and the chapter in which "Matt Goderich takes over the narration in his own voice. . . and ... looks back over the events of the 1920's from a 1979 perspective. . . is a muddle."
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
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Record: 238- Title:
- Part 2 Works on Hugh Hood; Selected book reviews; Selected Stories and None Genuine Without This Signature
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
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Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; Selected Stories and None Genuine Without This Signature
Struthers, J.R. (Tim) (compiler)
D216 Duffy, Dennis. Rev. of Selected Stories. The Globe and Mail, 2 Dec. 1978, Sec. Entertainment-Travel, p. 45. Duffy argues that in selecting the stories for this volume, "Hood is trying to tell us something about the shape he feels his work has taken." Duffy refers to Hood's "shift from what we commonly think of as realism to a kind of realistic allegory," and points to some prophetic aspects of Hood's early story "The End of It" which show the "thorough coherence" of Hood's career and indicate "that he has been all along headed in the direction this book takes." Duffy can only "acknowledge the nobility of the venture and understand the writer's insistence on widening his craft," even though he "cannot work up great enthusiasm for Hood's 'new direction' as a whole."
D217 Kellythorne, Walter. "Short Story Is Alive and Well in Canada." Rev. of 78: Best Canadian Stories, ed. John Metcalf and Clark Blaise; Selected Stories, by Hugh Hood; and I've Always Felt Sorry for Decimals, by Robert Gibbs. The Daily Colonist [Victoria], 9 Dec. 1978, Sec. Prevue, p. 13. Hood's most common theme is individuals' uneasy "confrontation with the fact of change and altered relationships" which happens "whether the people involved in it are aware of it or not"; yet "The River behind Things" illuminates "both change and . . . timelessness." In any case, Hood renders individuals well, "unafraid as he is to write of the emotionally and physically mundane." Hood's characters possess "an ability to come to terms with the facts of their existence, and their consciousness "provides the basis for one's admiration of these people."
D218 McHugh, Alexandra. "Bending the Iron Bar." Rev. of 78: Best Canadian Stories, ed. John Metcalf and Clark Blaise; Selected Stories, by Hugh Hood; and City Boys, by David Lewis Stein. The Gazette [Montreal], 9 Dec. 1978, Sec Entertainment, p. 83. Hood's stories are observant, humorous, compassionate, and full of wonder. He is able to "discover in the plain and ordinary a sudden mystery .... yet he does it so simply that we are hardly aware of the process." McHugh has special praise for the characterization, the sense of place and time, and the humour of "Silver Bugles, Cymbals, Golden Silks," which she describes as "a bildungsroman about the coming of age of a boy, a band and an entire era."
D219 Precosky, Don. Rev. of Selected Stories. In Canadian Book Review Annual: 1978. Ed. Dean Tudor, Nancy Tudor, and Linda Biesenthal. Toronto: PMA, 1979, p. 137. Precosky calls Hood "one of our finest writers" and says that Hood's Selected Stories "deserves a fanfare of greeting." Hood's stories are united by three characteristics: "a retrospective vision, stylistic virtuosity and variety, and a subtly concealed religious outlook." Hood's religious outlook "is present in virtually every story." It succeeds in suggesting "the moral complexity of life" without ever being "confiningly doctrinaire."
D220 MacKendrick, Louis K. Rev. of Selected Stories. Quill & Quire, Jan. 1979, p. 34. MacKendrick regrets the omission of "Three Halves of a House," "The Village Inside," and "Getting to Williamstown" from Selected Stories, but praises "Looking Down from Above" as a "lovely evocation of Montreal's mountain and reflection on self-fulfilment despite the accidents of the flesh." Hood's stories show "an exacting sense of location," as well as "wonder and discovery." In Hood's stories, "The internal connections and thematic unities. . . are subtle because the stories are so deceptively relaxed." Hood's subjects include "the immediate present balanced against the accumulation of personal history, impermanence, vulnerability, and the oddly similar arrangements between life and art." MacKendrick observes that in the structures of the stories, "revelations are paced precisely and persuasively not to an 'epiphany' but to an understated point of awareness, to a compromise with mortality."
D221 Morley, Patricia. "Old Comedians Know All the Tricks." The Ottawa Journal, 6 Jan. 1979, Sec. D, p. 41. The divisions of Selected Stories have a "symbolic shape," since Hood "uses the quaternary (like Patrick White) as an icon for the relation of the human to the divine.'" Hood's stories deal with "common experience in middle-class life," and show his ability to infuse ordinary experiences "with spiritual significance." Morley illustrates how "Hood's wry sense of humor sometimes takes the form of placing self-commentary in the mouths of his fictional characters"; she describes "Most of Hood's metaphors" as "extended allegories"; and she gives examples of his "vivid images."
D222 Struthers, J. R. (Tim). "Stories by a Master." The London Free Press, 6 Jan. 1979, Sec. B, p. B4. Hood's stories "convey the promise of Divine Grace and the limits of human capacity." Hood's depictions are allegorical and imaginative, as his choice of titles for "An Allegory of Man's Fate" and "Places I've Never Been" remind us. Yet the majority of his stories "are more definitely earthbound, more purely documentary and at most hint at, rather than press, their allegorical significance." Many stories "exemplify what Hood once called his 'moral realism' and scrupulously document various moral and artistic problems in the lives of his characters." "Such stories," Struthers argues, "follow the Wordsworthian model of rendering the natural more than natural; but other stories suggest the Coleridgean model of making the supernatural seem natural."
D223 Bemrose, John. "Paperbacks: Now's the Time to Hoard Paperbacks." Rev. of Zelda, by Nancy Matford; The Trail of the Fox, by David Irving; The Last Gentleman, by Walker Percy; Selected Stories, by Hugh Hood; and Blind Date, by Jerry Kosinski. Saturday Star [Toronto], 13 Jan. 1979, Sec. Entertainment, p. D7. Like most of Hood's work, Selected Stories is "filled with the minutiae that clutter everyday existence, the whole carried along on a drifting current of wonder." "Events are unremarkable in Hood, but they will appeal to those easy-going natures to whom nothing momentous need happen."
D224 Botari, Victor. Rev. of Selected Stories. Ottawa Revue, 11-17 Jan. 1979, pp. 16, 17. Almost all of the stories fit easily into the category of fables, through which Hood attempts, more consciously and more deliberately than other writers, "to teach something about or to comment upon life." This feature represents a "common denominator" in the book. Another common theme in these stories and in Hood's work as a whole 'is a fascination with the past, either as a bygone era or as a rapidly fading present." Botari likens Hood's art to that of the film-maker in "The End of It." Like him, Hood is growing "more sure"; yet it is likewise now "more difficult to figure out exactly what he means."
D225 Smith, Michael. "Recycles Bulk for Two." Rev. of City Boys, by David Lewis Stein; and Selected Stories, by Hugh Hood. Books in Canada, Feb. 1979, p. 22. "Conventional wisdom long has held that Hood is a good story writer and inferior novelist." Smith himself describes The New Age/Le nouveau . siecle as an "excessive, pseudo-Proustian series of novels" and comments that Hood's short stories "enjoy, as stories, a control that his New Age novels appear to lack."
D26 Peterson, Kevin. "Writers and Words." The Calgary Herald, 10 Feb. 1979, Sec. Entertainment, p. F10. Peterson enjoys Hood's "finely-tuned command of language," and praises the precision and concentration of his character sketches and especially his "understanding of Canada and Canadians that seems unequaled by other English-language authors." Hood's settings in Eastern Ontario and Quebec "travel well" since Hood is "not a regionalist." Peterson praises the Montreal stories from Around the Mountain: Scenes from Montreal Life and The Fruit Man, The Meat Man & The Manager, and argues that Hood's "Toronto upbringing serves as an asset because he lacks that intense inner pride and chauvinism that native Montrealers have." Flying a Red Kite and Dark Glasses include stories which "are more personal in their approach" and which contain "a strong undertone that grows as the story progresses." Hood's "most effective stories" create "an amazing sense of fear" as the reader "sees the distortion that has been fighting to get out of the seemingly normal character." This frightening quality, which is apparent on the cover of the book, "reflects only one side of Hood"; for Hood is, "above all, a well-rounded writer."
D227 Needham, Alan. "Expertise Trap: Short Stories Gain Sophistication, Grow Duller." The Weekend Citizen [Ottawa], 3 March 1979, Sec. 3, p. 39. Needham praises the human interest, perceptions, and warmth of Hood's early stories, but claims that "as his technical skills have increased, his story-telling gifts have dwindled away." Among Hood's Selected Stories, Needham considers "Fallings from Us, Vanishings" as "probably the best." The selections from Around the Mountain: Scenes from Montreal Life "display the author's descriptive powers but hardly qualify as stories." In the selections from The Fruit Man, The Meat Man & The Manager, "more sophisticated techniques appear. . .but always at the expense of substance"; and none of the stories from Dark Glasses "fully comes off," although Needham finds the writing in them "impeccable."
D228 Nowlan, Michael O. Rev. of Selected Stories. The Daily Gleaner [Fredericton], 9 March 1979, Sec. Leisure, p. 13. Several stories "possess aspects of the supernatural that provoke and intrigue," while "'An Allegory of Man's Fate' is lifted right from the pages of life." "More than anything else," however, Hood's stories "show us ourselves." Such stories are not depressing, but "stimulate through a special spiritual sense" which enables us to "see good . . . , not only in the relationship of right and wrong, but as it affects the inner or spiritual being."
D229 Grady, Wayne. "Fiction Chronicle." The Tamarack Review, Nos. 77-78 (Summer 1979), pp. 95, 99, 100-01. Grady describes the Canadian short story as "a blend of realism and didacticism, of fiction and non-fiction," and he cites Hood's stories "Light Shining Out of Darkness" and "Ghosts at Jarry" as examples of "social history disguised as fiction." Hood's Selected Stories combines "the casualness of Hugh Garner and the earnestness of [John] Metcalf." Although Hood possesses the ability "to imply deeper levels of meaning lurking beneath the cool surfaces of things," Grady contends that "Often . . . the deeper levels just aren't there." Hood's stories, Grady argues, actually lean more towards "mild satire" than towards "allegory."
D230 Monk, Patricia. Rev. of Selected Stories and six other books. Queen's Quarterly, 86 (Fall 1979), 525,526. The outlook in several collections of Canadian stories published in 1978 is much more pessimistic than Atwood's Survival: A Thematic Guide to Canadian Literature. "Even in Hugh Hood's Selected Stories experience is something dead and preserved in miniature." Monk argues that "In their obsession with getting experience down on paper, recorded and preserved in some tangible form, and with ignoring any possibility of the vision of something other than and beyond mere experience, these writers suggest a far more terrifying possibility than even Atwood worked out--simply that there is no future."
D231 Duffy, Dennis. Rev. of None Genuine Without This Signature. The Globe and Mail, 23 Aug. 1980, Sec. Entertainment, p. 12. Duffy regards this volume as another "challenging" and "engrossing" book from "a shortstory master" who has produced works of consistent quality. In Hood's description of the Canadian landscape, "he has populated our territory with his dreams, he has shown us how lovable we might be." The collection is preoccupied with "Consumerism and the consumer society"; and, in his examination of twentieth-century life, "Hood forces a shocked recognition upon the reader." His manipulation of voice is "flawless"; and, while much of the prose is ambiguous, the stories contain rewards for hurried as well as patient readers.
D232 Fraser, Graham. "Hood: A Sure and Deft Touch." The Gazette [Montreal], 23 Aug. 1980, Sec. Entertainment, p. 90. Even though Hood has written a number of novels and works of non-fiction, he is still "best known for his short stories." Most of the stories in this collection display his awareness of "visual detail," "gesture," "dialogue," and "tone of voice." The allegorical dimension and the philosophic commentary characteristic of Hood's fiction are "muted and unobstrusive" in these stories, possibly owing to the "restraint" imposed by the form. More than any other contemporary writer, Hood is fascinated by "the work people do" and devotes a great deal of time to conveying the sense of every job's "craft."
D233 Hoskins, Cathleen. "Hugh Hood Warms Up to His Best." Saturday Star [Toronto], 30 Aug. 1980, Sec. Family, p. F11. Hoskins comments upon the difficulty of writing a good short story and notes that "Ghosts at Jarry" is "a perfectly pitched tale about baseball and the spirit of place." All of the stories demonstrate Hood's interest in the ordinary aspects of everyday life, yet one of his strongest devices is the "use of stylistic and narrative ambiguities to keep the reader slightly unsettled and off-balance " In his best stories, such as "New Country," this device creates "a sense of mystery that tightens the suspense and deepens the seriousness of the tales."
D234 Owen, I. M. "The Hood Line: Father, Son, and Holy Ghost." Books in Canada, Aug.-Sept. 1980, pp. 9-10. The "entertainment and interest" in this collection "lie more in the stories' reporting and comment on the actual world than in specifically fictional, imaginative qualities." The "two recurrent themes" are "the falseness of the consumer society" and "popular music." Hood, a Christian throughout his life, "doesn't deafen us with clashing symbols as converts are inclined to do." Owen refutes an allegorical interpretation of all of Hood's works and notes that the "Christian" label prevents appreciation of Hood. For a critical response to this review, see Keith Garebian, "Owen Hoodwinked," Books in Canada, Nov. 1980, p. 33.
D235 Williams, Ralph. "Hugh Hood's Latest Is 'Genuine' Wit, Wisdom and Sweet Satire." The Link [Concordia Univ.], 19 Sept. 1980, p. 7. Hood "is a master of the short tale, and well in control of the special form needed in this special type of literature." The stories "range from the humorous to the very serious, but they do have parallel themes." Williams outlines the themes of the stories and notes "Hood's ability to use different styles of writing" in "Gone Three Days." Hood's "stories can be read on several levels of meaning."
D236 Kellythorne, Walter. "Life as a Wasteland to Be Crossed." Rev. of General Ludd, by John Metcalf; and None Genuine Without This Signature, by Hugh Hood. Times-Colonist [Victoria], 20 Sept. 1980, Sec. Entertainment, p. 48. "The new stories exhibit a strength and clarity that we've come to expect from Hugh Hood, and 'The Woodcutter's Third Son' is as good as anything in our language." Bewilderment and a "sense of loss" recur in all of the "'music stories.' "
D237 Stanley, Don. "The High Mountain Speaks to a Foothill." The Magazine [The Province] [Vancouverl, 28 Sept. 1980, p. 12. Hood's stories "revel in the contemporary commonplace" and in "the jargon of ordinary jobs," but Stanley is not convinced that such information is essential in the narratives. In several stories, "Hood's willed intellectual brilliance" becomes too didactic. Stanley notes the "Balzacian" nature of Hood's The New Age/Le nouveau siecle series and relates a telephone conversation with Hood (C182).
D238 Keith, W. J. "The Case for Hugh Hood." The Canadian Forum, Oct. 1980, pp. 27-29. Keith argues that Hood is an important writer and suggests that he displays "an open and compassionate interest in ways of life far removed from those of many of his readers." "God Has Manifested Himself unto Us as Canadian Tire" and "Ghosts at Jarry" are two examples of his ability to achieve an "insight beyond the reach of direct statement." Through the technique of his craft and his "assured and tested religious and moral position," Hood presents the modern city in a sympathetic and perceptive manner. His religious "viewpoint allows him to see the sacred in the profane," and he reveals "a healthily positive response to the things of this world."
D239 Pike, David. "Hugh Hood: New Short Stories Confirm His Fine Reputation." The Calgary Herald, 4 Oct. 1980, Sec. Entertainment, p. D11. Hood is "extraordinarily convincing" in the area of characterization, and each of the individuals in this book becomes "'the subject of enraptured, absorbed study.' " The predominant theme of the volume is the absence "of any credible guiding myth" in contemporary society. "Breaking Off" explores the consequences of a lack of moral guides, and "The Woodcutter's Third Son" examines "the difficulty of achieving a congruency between our guiding myths and our actual lives." The collection confirms Hood's status "as Canada's finest short story writer."
D240 Hancock, Geoff. Rev. of None Genuine Without This Signature. The Windsor Star, 11 Oct. 1980, p. E8. Hancock disagrees with the comparisons that have been drawn between Hood and Dante, Tolstoy, Proust, and Joyce. He considers Hood "a comic writer. . . who sees hope for the world of his characters." "Breaking Off" is a strong story combining "romance, finance, and social and spiritual disintegration in a flawless style." Several stories are too lengthy, however, with biblical parallels and meanings too forced.
D241 Curran, Phyllis. "Hood's Short Stories Are Sheer Delight." The Sault Star [Sault Ste. Marie, Ont.], 24 Oct. 1980, Sec. Focus, p. 16F. Hood "has such a unique, fresh way of expressing himself, that you find yourself seeing those who people his book--perfectly ordinary people--in a new way." More "than just a glib satire on consumerism," Hood's opening story shows that "even the seeker after God can be misled by materialism." Hood's "sense of humor is subtle and unexpected." Many of the stories are what might be called 'media folklore' touching such familiar themes as promotion, pop music, baseball and salesmanship."
D242 Whalen, Terry. Rev. of None Genuine Without This Signature. Quill & Quire, Nov. 1980, p. 39. "Hood's social-religious vision in this volume is one of the waste land." His "hyperbolic depiction of two kitsch-worshipping idiots who live in an artificial heaven of commercial junk" is his "controlling metaphor .... Other stories in the book are studies of the spiritual indigestion of sensitive and successful individuals."
D243 Williamson, David. "Stories Show Real Canada." Winnipeg Free Press, 8 Nov. 1980, Sec. Leisure, p. 4. In his treatment of contemporary urban life, Hood is "writing about the truly Canadian experience." He writes with "accuracy and satirical wit," and his stories are "completely entertaining and accessible." While all of the stories are good, "Ghosts at Jarry" is the most successful. The variety and the quality of these stories indicate that Hood is among the best three or four writers of short fiction in Canada.
D244 MacDonald, Margaret. "Hugh Hood: Golden Moments." Waves, 9, No. 2 (Winter 1981), 88-89. The stories "are arranged in a satisfying order. They move from needing little reader involvement and an experimental, disjointed style to more and more involvement and a more traditional style." Hood uses "precise images that stay in the mind." Each story "is an adventure of sorts." Sometimes "The beginnings are too elaborate and are connected to the endings by only a thin thread, but the scenery on the journey is. . .interesting." " 'February Mama' . . . is like a song itself." "There is a variety of points of view in this collection ...." Hood's cataloguing sometimes runs "amok."
D245 Berner, Audrey. "Canadian Book Reviews: Hugh Hood Deserves Recognition." Northland Post [Cochrane, Ont.], 14 Jan. 1981, p. B11. Hood's style "has become more mature and experimental." Many of the stories "are concerned with 'mass sell,' the death of good taste, and the falseness of modern goods. The tone is set by the opening story." Yet each one "approaches the problem from a unique stance." "Gone Three Days" and "The Good Listener" are "The two most unusual stories," while "Ghosts at Jarry" is Berner's personal favourite.
D246 Nowlan, Michael O. Rev. of None Genuine Without This Signature. The Daily Gleaner [Fredericton], 6 Feb. 1981, Sec. Leisure, p. 19. This is a collection of "mystical, spiritual, social, economic, and significant adventures," full of characters who "seem to come right out of the experiences of life." The stories deal with the absurdities of life, and "spiritual and mystical reflections of life" are blended together. Hood's main strength lies in the "unfailing regularity and finesse" which he turns "that most ordinary event or subject into a miniature work of art."
D247 Rev. of None Genuine Without This Signature. Choice, March 1981, p. 950. The collection presents "a spectrum of styles, voices, and moods," ranging from "linguistically experimental" stories to ones that are "pregnant," "satirical," or "mildly surreal." Some stories are slow-paced with anticlimactic endings, but most reveal Hood to be "an extremely literate" and "witty" writer, "whose forte is his versatility and whose vision -- in the midst of chaos, cruelty and banality-- is pervasively life-affirming and optimistic."
D248 Currie, Sheldon. Rev. of None Genuine Without This Signature. The Antigonish Review, No. 45 (Spring 1981), pp. 104-05. Currie discusses "God Has Manifested Himself unto Us as Canadian Tire" in some detail, noting that Hood's language in this story is "accurate" and "rich in cultural and religious implications." "Gone Three Days" is an experimental piece in which Hood manipulates point of view by assuming the roles of two different characters. What Currie finds most impressive about the collection "is the sureness of voice, modified for each story, but always moving with sympathy and authority."
D249 Matheson, R. E. Rev. of None Genuine Without This Signature. CM: Canadian Materials for Schools and Libraries, 9 ([Spring] 1981), 92. "Hood demonstrates a unique and fascinating ability to satirize modern society while at the same time tell a good story." His "range of techniques" is "daring," though not always effective. "The high quality and variety of this collection would make it an excellent supplementary resource for the classroom and library."
D250 Bilan, R. P. "Letters in Canada: 1980. Fiction: 2." University of Toronto Quarterly, 50, No. 4 (Summer 1981), 9, 11-12. Rpt. in Letters in Canada 1980. Ed. W. J. Keith and B.-Z. Shek. Toronto: Univ. of Toronto Press, 1981, pp. 9, 11-12. Hood's is "the most interesting" collection of short stories in 1980. It is unfortunate that short stories usually "receive less attention" than novels, because Hood's "stories may well be his best work." Compared to The New Age/Le nouveau siecle, "his stories are marvellously compact and realized; they are, inevitably, much less ambitious, but they are also more obviously successful." The "stories are taut, unified, and admirably concrete; written in Hood's engaging, lucid style, they are all a pleasure to read." Hood's "conservative moral vision" works best when his characters also are conservative. When the characters are not conservative, they often become "caricatures." A number of stories "are impressively adventurous in form," and Hood makes "some interesting experiments with point of view." The presentation of the retarded boy's mind "is an impressive virtuoso performance." Hood maintains his optimistic Christian view, but here "confronts directly the brutal kind of experience that tests one's optimism and faith."
D251 Fagan, Cary. Rev. of None Genuine Without This Signature Canadian Book Review Annual: 1980. Ed. Dean Tudor, Nancy Tudor, and Betsy Struthers. Toronto: Simon & Pierre, 1982, pp. 136-37. These stories "are self-conscious pieces of literature, results of a writer who is so concerned with his craft and literary place that he neglects their true potential value." "If only Hood's stories concerned real people his other interests would fare better." "Gone Three Days" represents "Hood at his best and worst." While the second part of the story successfully depicts how "the social worker learns something of the suffering of others," the preceding monologue by the retarded boy lacks psychological "depth" and is "tedious to read." "As a whole, the collection is dull. Potentially interesting themes are dealt with (compassion, fear, guilt, love, alienation) but Hood doesn't provide enough ideas or passion to fuel the stories."
D252 Howard, Victor. "Cultural Icons." Rev. of Goodbye Summer, by Veronica Ross; and None Genuine Without This Signature, by Hugh Hood. Canadian Literature, No. 92 (Spring 1982), pp. 117, 118-20. The first and last stories may be taken to sum up the various subjects, themes, and techniques of the collection. Hood is clearly interested "in the icons and debris of our vast, mass meretricious (though sometimes worthy) culture," as well as "in the passage of time, the loss of the past, the burden of the past." "New Country" possibly functions as "a pivotal piece," and is reminiscent of Twilight Zone in its "nervous" and "spooky" atmosphere.
D253 Orange, John. Rev. of None Genuine Without This Signature and Reservoir Ravine. The Fiddlehead, No. 133 (July 1982), pp. 85-87. Hood "tries out different uses of narrative point of view, variations on satiric and ironic tones, and very different kinds of vocabulary and syntax." "The first five stories suffer from weaknesses that stem from an intrinsic didacticism which interferes with the integrity of the stories"; indeed, "most of the stories create the impression that they were conceived by an idea and that their author is using tricks to disguise this fact--tricks such as . . . documentary detail, descriptions of topography, place names, titles of old songs." Yet the stories that do work well. . . make the collection a worthwhile purchase." Most of the characters "are shaped by externals in their lives such as popular music, new products, sports, notions of progress, movies, technology. They are their public selves alone--masks, shells. It is significant that the title story has to do with the selling of cosmetics. Hood examines the reaction of these characters from different classes in the social structure when a need for something deeper begins to nag at them."
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
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- Part 2 Works on Hugh Hood; Selected book reviews; Strength Down Centre: The Jean Beliveau Story
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Criticism & interpretation -- Bibliography
Titles critiqued: STRENGTH down centre: The Jean Beliveau story (Book)
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Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
ISBN: 920802680 (hardcover)
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; Strength Down Centre: The Jean Beliveau Story
Struthers, J.R. (Tim) (compiler)
D270 Blackman, Ted. "Expectations Unrewarded by New Beliveau Biography." The Gazette [Montreal], 12 Feb. 1970, Sec. 2, p. 13. Blackman acknowledges that Beliveau's spotless career makes him an unusual and perhaps difficult subject for a popular sports biography, but argues that Hood should have been able to trace "Beliveau's esteemed character to its roots while recording his hockey career." Instead, many of Beliveau's experiences are skimmed over or are not explained. Although Blackman has some praise for the level of insight offered by Beliveau's own transcribed comments, and for the chapters on style and technique, he concludes that the book is completely lacking in any hard, new facts.
D271 Brisebois, Rheaume. "Pour . . . ou contre!" Dimanche-matin [Montreal], 15 fev. 1970, p. 96. Brisebois has high praise for Beliveau, but little for the book, which is neither a biography, nor the story of a career, nor the analysis of a famous person. Many interesting aspects of Beliveau's career are left unexplored or are simply omitted. The book contains two very good chapters on Beliveau's style and technique but also "beaucoup de ressassage" or filler.
D272 Orr, Frank. "The Novelist and the Hockey Player." Toronto Daily Star, 21 Feb. 1970, Sec. 6, p. 75. The chapter which "combines Hood's observations and Beliveau's explanations" represents "possibly the best, most complete thesis on how one man plays his game ever written." Yet the opening chapter is dull and the book often "leaves you asking questions that you wish Hood had asked Beliveau." Orr faults sections of both Hood's and Beliveau's accounts of politics and personalities.
D273 French, William. "Stickhandling a Hero down 192 Pages." The Globe Magazine [The Globe and Mail], 28 Feb. 1970, p. 16. "The book is not straight biography," and is "difficult to classify." French refers to "a kind of random disorganization," then traces the way through the book's successive chapters. Hood's attitude of "hero worship and adulation" makes Beliveau "part saint and part superman." French admits that Hood "is pretty knowledgeable about the finer points of the game," but is critical of Hood's style.
D274 Richler, Mordecai. "He Shoots! He Scores! He Incorporates!". The Montreal Star, 28 March 1970, Sec. Entertainments, pp. 5, 38. Hood "writes astutely about hockey and its relevance to the Canadian experience" and "is convincing on the game's finer points." Hood's book is "absorbing and intelligent"; however, Richler finds that it falls short of the best contemporary sports writing by Gay Talese, John Updike, Norman Mailer, or George Plimpton. "Hood is too much in awe of Beliveau," Richler comments, then cites Beliveau's endorsements of various products. "Hood, who has a good ear for dialogue, also tells us too much, shows us too little."
D275 Dawe, Alan. "Sports Legend Which Became Jean Beliveau." The Vancouver Sun, 5 June 1970, Sec. Leisure, p. 38A. Dawe places Strength Down Centre: the Jean Beliveau Story" several cuts above the usual narratives about athletic superstars," because of both its author and its subject. Beliveau emerges from Hood's book "as something of a knight on shining me-skates" or an "untarnished deity," and hockey is presented as "something of a mystical rite."
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
Item Number: ABCMA05HHP2000005003004013
Record: 240- Title:
- Part 2 Works on Hugh Hood; Selected book reviews; The Camera Always Lies
- Other Title:
- Part 2 Works on Hugh Hood; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Criticism & interpretation -- Bibliography
Titles critiqued: CAMERA always lies (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 2: Works On Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP2
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; The Camera Always Lies
Struthers, J.R. (Tim) (compiler)
D15 Cutler, Gertrude O. "Novel about Hollywood Star Is Tastefully Restrained." Portland Evening Express [Portland, Maine], 26 Aug. 1967, p. 5. Cutler calls the book "one of the best stories of Hollywood to appear in years," and indicates that "Hood wisely foregoes sensationalism and writes with subtlety and sympathy." "Beneath the dramatic, entertaining, and romantic surface of The Camera Always Lies is a warm humanity, an acute insight into the pressures our society imposes on people in public life, and a sharp eye for the politics and personalities of the film world."
D16 Campau, DuBarry. "Some New Books: Autobiographers and Bores." Rev. of Finding a Father, by Ian MacInnes; My Life and Easy Times, by Patrick Campbell; Through the Minefield, by Constantine FitzGibbon; and The Camera Always Lies by Hugh Hood. The Atlantic Advocate, Sept. 1967, p. 59. The Camera Always Lies "is an unusually literate and authoritative novel about the American movie industry and what it does to the people involved in it." This topical novel "is not in any way a sensational roman a clef but a believable backscenes story," and it is "well-organized and rapidly paced."
D17 Levin, Martin. "Reader's Report." Rev. of The Camera Always Lies, by Hugh Hood; Shark Island, by Maurice Edelman; The Practice, by Stanley Winchester; The First Season, by Timothy Houghton; and The Grudge Fight, by John Hale. The New York Times Book Review, 10 Sept. 1967, p. 61. Hood "plays highly sophisticated variations on what one might think was an exhausted theme" and "manipulates such obligatory pawns as the bitchy young starlet and the slowly fading star with an offhand skill that keeps the reader continually fascinated."
D18 Kerr, Eileen. "Not a Pretty Picture." The Gazette [Montreal], 23 Sept. 1967, Sec. The Lively Arts, p. 42. In The Camera Always Lies, "Mr. Hood goes behind the scenes of the Hollywood movie industry to take a good, hard look at the world of the film and its personalities." "Though the drama slackens somewhat in the middle of the book this tends, in an understatement sort of way, to lend credulity to Mr. Hood's thesis that these things happen as an everyday, commonplace thing--a way of doing business," Hood "has a stronger sense of 'experience' than either ear for dialogue or feel for character"; nevertheless, the novel "is competently written and very readable."
D19 French, William. "Hollywood? Who Needs It?". The Globe Magazine [The Globe and Mail], 30 Sept. 1967, p. 26. Hood's departure from familiar Canadian territory in search of material and, apparently, a market in the United States is "surprising and disappointing." "It's not a bad novel as Hollywood novels go -- but who needs it? .... The plot is conventional, the characters are stock, the conclusion predictable," but "The book is not as utterly banal as the plot outline would indicate. It is competently crafted, and Hood's writing is nicely understated. He has a comprehensive knowledge of the film industry."
D20 Jackson, Katherine Gauss. "Books in Brief." Harper's Magazine, Oct. 1967, p. 116. Although Rose is a sympathetic character, what happens to her after her attempted suicide does not ring true. In addition, "The author tells altogether too much about his characters, their situations, and the plays within his play, and the effect is artificial."
D21 LaHaye, Judson. Rev. of The Camera Always Lies. Best Sellers, 1 Oct. 1967, pp. 249-50. The "expert finesse" of Hood's handling of literary structure "to create an empathy, if not an identification, with the characters of the novel" prevents the reader from treating the work as a conventional Hollywood story. Hood evades "The danger. . .in choosing the Hollywood miseen-scene," which is "the tendency to create types, rather than flesh and blood people"; however, his characters "can be, if necessary, reduced to such simplifications." The novel "has all the elements of a rudimentary fairy-tale." LaHaye praises Hood's "acute sympathy and restraint" and states that the discussions of costume designing and the French influence on foreign films are "interwoven naturally" and "add to the uniqueness of the tale."
D22 Billinkoff, Arlene. "Good Hood." Winnipeg Free Press, 7 Oct. 1967, Sec. Leisure, p. 25. Billinkoff praises the novel for being "highly readable and often compelling." Hood "focuses on the pressures and politics of Hollywood as they affect the life of 34-year-old actress Rose LeClalr," but what distinguishes this novel from others with similar plots is "the author's subtle handling of background and characterization."
D23 Fulford, Robert. "Hugh Hood's Misused Talent." Rev. of The Camera Always Lies and Around the Mountain: Scenes from Montreal Life. Toronto Daily Star, 12 Oct. 1967, Sec. 3, p. 43. Fulford compares The Camera Always Lies unfavourably with Around the Mountain and Hood's non-fiction and argues that "the best material" in Hood's fiction "is also the most journalistic." "Like most good journalists, Hood works always from the outside." "He can describe a mood, he can get down certain processes, and he can analyze a static situation." However, Hood's weakness in creating dynamic characters and situations makes his fiction generally "dull, flat and spiritless, when it is not embarrassingly pretentious." In short, "Deep inside his personality, a superior journalist is being slowly strangled by an inferior novelist."
D24 Goldberg, Barbara. "Ancienne vague." Rev. of The Camera Always Lies and Around the Mountain: Scenes from Montreal Life. The Montreal Star, 14 Oct. 1967, Sec. Entertainments, p. 7. Goldberg sharply criticizes The Camera Always Lies as "bland," "cliché-ridden," and "amazingly superficial." Because Hood is "Overly attentive to details," he "neglects or loses interest in his characters and the story as a whole."
D25 Bishop, Dorothy. "A Novel of the Week." The Ottawa Journal, 28 Oct. 1967, Sec. Saturday Section, p. 36. Bishop argues that although one suspects that the American film industry "has been so overexposed, both under the soft lights of glamor and the harsh lights of supposed truth, that there is now little more to be said on the subject and even less reason for attempting to say it," nevertheless "Hood has found an angle worth focussing on," the contrast between the American concept of film as industry and the European concept of film as art, which Bishop had not previously seen used in fiction, although it had no doubt been common in film circles.
D26 Grosskurth, Phyllis. "New Canadian Novels." Rev. of The Camera Always Lies, by Hugh Hood; No Place for an Angel, by Elizabeth Spencer; I Heard the Owl Call My Name, by Margaret Craven; Pilgarlic the Death, by Bernard Epps; and The Hammering, by Robert Troup. Saturday Night, Nov. 1967, p. 55. Grosskurth considers The Camera Always Lies in the context of American literature and its treatment of the American Dream, and she finds Hood's novel deeply disappointing and "thoroughly derivative." "When Tender is the Night was published in 1934, Hollywood still represented Babylon on the Pacific, the epitome of strident vulgarity, but today its symbolic value has been drained of any crucial impact." Grosskurth regrets that The Camera Always Lies lacks the "concerned understanding of his own environment" which Hood exhibited in Around the Mountain: Scenes from Montreal Life, and she criticizes Hood for prodding "too persistently" at his theme and for making his "attitudes towards his characters and their values . . . unsubtly blatant."
D27 Morrison, Don. "Don Morrison's 2 Cents' Worth: No Credibility Gap in Writer's Celluloid Types." The Minneapolis Star, 4 Nov. 1967, p. 6A. Morrlson describes Hood "as a humane man who extends the sanction of humanity to his fictional creations," and he praises Hood's avoidance of "easy sensationalism," Hood's ability "to build an aura of reality around these events based not on shop-girl titillations but on his aforementioned humanity, which, for example, explains the suicide attempt in terms so alien to the customary punitive/self-pitying pattern that Rose's survival becomes a kind of triumph of decency."
D28 Ready, William. "Hugh Hood Scores Again .... " The Hamilton Spectator, 25 Nov. 1967, Sec. 2, p. 27. Ready defends Hood's novel against the criticism of literary nationalists by arguing that "only a non-American can really observe Hollywood. The only other good book about that place was written by an Englishman, Gavin Lambert, The Slide Area." Hood is capable of bringing "great renown to Canada, but he must be allowed and encouraged to roam" widely in his search for stories with universal lessons.
D29 Tench, Helen. "Hollywood Fairy Tale, with Cynical Touches." The Saturday Citizen [Ottawa], 16 Dec. 1967, Sec. 2, p. 24. In writing The Camera Always Lies, "Hood has aimed at the American market." Tench calls this venture "foolhardy," since "Hood is a writer immersed in the Canadian scene" who in his recent book Around the Mountain: Scenes from Montreal Life shows "how well he knows and loves that city" and who would be better off writing "a novel set in Montreal." The effect of the novel is "soporific." Hood's "Message" that "marriage is for life" is acceptable in the case of "the dynamic, innocent" Jean-Pierre Faure but in the case of Seth's marriage to Charity "is preaching by the author, not characterization."
D30 Percy, H. R. Rev. of The Camera Always Lies. The Canadian Author & Bookman, 43, No. 2 (Winter 1967), 23. Percy's response to The Camera Always Lies forces him to reconsider his belief that a writer's style is far more important than his subject. Although Hood writes with "astonishing competence and finesse," his subject -- "the sordid intrigues of the American film industry"-- is, for Percy, boring and distasteful. "One stays with it out of respect for the writer's virtuosity long after one should have put it down."
D31 Clarkson, Adrienne. "Books." Rev. of Paris 1900, by Richard Mandell; The Moonflower Couple, by John Fairchild; The Magnificent Failure, by Giles A. Lutz; and The Camera Always Lies, by Hugh Hood. Chatelaine, Jan. 1968, p. 13. The Camera Always Lies is a "facilely absorbing story" which presents "A rather simple vision of Hollywood crassness." The work's "surefire plot. . .and hints of subtle sensitivity and perception. . . aren't enough."
D32 Nowlan, Alden. Rev. of The Camera Always Lies. The Canadian Forum, May 1968, pp. 46-47. Rpt. (excerpts) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Vol. xv. Ed. Sharon R. Gunton and Laurie Lanzen Harris. Detroit: Gale, 1980, 283-84. Nowlan criticizes Hood's style and language for being "too heavy" and too difficult for this kind of book and the audience which would most likely buy it. Nowlan is also critical of the "many perfunctory little references to sex." The Camera Always Lies would have been "much more entertaining" if Hood had "forgotten the 'delicate niceties' and just 'sort of bullassed right through.'" For an ironic response by "Piquefort" [Dave Godfrey] to this review, see "Piquefort's Column: Bullassin' Lord Brunswick-o," rev. of Miracle at Indian Rwer, by Alden Nowlan, The Canadian Forum, Sept. 1968, p. 143. Nowlan's reply appeared in "Correspondence," The Canadian Forum, Jan. 1969, p. 230.
D33 Stedmond, J. M. "Letters in Canada: 1967. Fiction." University of Toronto Quarterly, 37 (July 1968), 388-89. "Hood does a thoroughly professional job, but by choosing a hackneyed form, he handicaps himself unduly. He tells his tale well, portrays the characters deftly, provides convincing background details, but it is all too familiar, having been done too many times both in print and film."
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
Item Number: ABCMA05HHP2000005003004002
Record: 241- Title:
- Part 2 Works on Hugh Hood; Selected book reviews; The Fruit Man, the Meat Man & the Manager
- Other Title:
- Part 2 Works on Hugh Hood; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Criticism & interpretation -- Bibliography
Titles critiqued: FRUIT man, the meat man & the manager (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 2: Works On Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP2
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; The Fruit Man, the Meat Man & the Manager
Struthers, J.R. (Tim) (compiler)
D171 Foster, Malcolm. "From Montreal's Hugh Hood. . . A Delightful Collection of Stories." The Gazette [Montreal], 23 Oct. 1971, Sec. 4, p. 46. Foster praises "The variety of time, place, character and mood" in these stories. "Hood is at his best. . . in capturing memory," a quality exemplified in "Getting to Williamstown," where Hood catches "the mood, color and fragile beauty of scenes long since vanished." Foster finds Hood's stories "better than anything I've read by Morley Callaghan," and also superior to Hood's own novels. "His story characters live, while those in his novels tend to be two-dimensional rather than rounded, and his approach in the novel is rather theoretical and abstract so the novels are far colder than the stories."
D172 Peterson, Kevin. "Short Stories: Hood's Images: Sharp, Biting." The Herald Magazine [The Calgary Herald], 29 Oct. 1971, p. 6. Hood weaves "obvious images" into "the interludes of life that are his short stories" in such a way that "The mundane becomes charged with feeling, the steady progression from A to B takes on a reflective dimension that returns to haunt his characters." All fifteen stories in this volume "represent the excellent product of a man confident and able with his craft."
D173 Clery, Val. "Brief Candles." Rev. of The Fruit Man, The Meat Man & The Manager, by Hugh Hood; Violation of the Virgins and Other Stories, by Hugh Garner; and Fourteen Stories High: Best Canadian Stones of 71, ed. David Helwig and Tom Marshall. Books in Canada, Nov. 1971, p. 19. Clery discusses the different requirements of oral stories for radio and literary stones for the medium of print, and argues that several of Hood's stories "seem to fall between the ambiguous demands of the oral and the literary." The volume confirms Hood's "role as an Upper Canadian regional writer." Hood's characterization of the petty bourgeois in Quebec does not quite achieve "contact with a wider and deeper humanity," and it exhibits somewhat "droll condescension" towards "the quirky Jansenism of French Canadians" and towards "Montreal's Jewish subculture."
D174 Barbour, Douglas. "Wide Style Range in This Collection." Rev. of The Fruit Man, The Meat Man & The Manager, by Hugh Hood; and Fourteen Stories High: Best Canadian Stories of 71, ed. David Helwig and Tom Marshall. Edmonton Journal, 5 Nov. 1971, Sec. Leisure, p. 64. "Hood has a wide range of styles, tones, and characters at his disposal." Hood tends to approach his subjects "obliquely, often through a middle man who may appear to be the subject of a story but isn't (although all his major characters are important-- to him and to us)." Barbour praises this method of Hood's, for it "serves him well in craftily sharing our interest."
D175 Bishop, Dorothy. "A Novel of the Week." The Ottawa Journal, 6 Nov. 1971, Sec. Linsure, p. 32. Bishop speaks of the difficulty in creating a short story, which "Marjorie Pickthall long ago identified" as "a form closely related to poetry," and remarks that "Sometimes Mr. Hood's firm-woven style demands as with poetry an immediate re-reading." Hood's "stature grows" with this "admirable" and "masterly" collection. Bishop praises Hood's "wonderful eye for what makes a story," and draws attention to Hood's "power to summon up characters that possess that superficial clarity of outline, that inner complexity, of the ordinary man or woman seen in aspects of this teasing or hopeful or failing or celebrating human nature."
D176 Duffy, Dennis. "So Ordinary-- So Splendid." The Globe and Mail, 6 Nov. 1971, Sec. Entertainment-Travel, p. 31. Duffy states that in Hood's fiction people "who cannot reach out to one another seek peace in highly charged moments that occur in their lives." His characters "live in a world they neither understand nor control, but which bestows on them moments. . . flashes. . . sainthood at times. . . and finally, death." Hood is "a close observer of the way people live," and these stories are "crammed with things, with topographies and vocabularies straight from everyday experience." "Yet, how easily all this yields to the larger world from which things derive their being, the world of death, and the seasons."
D177 Dobbs, Kildare. "Writer Treads Carefully." The Toronto Star, 12 Nov. 1971, Sec. 2, p. 44. Dobbs faults Hood's modesty in perhaps "settling for less than he's capable of," and states that the volume as a whole "doesn't represent any advance or growth in Hood as a writer. At 43 he is still promising, still the good craftsman, still the painstaking chronicler of his region." "Hood is fascinated by matters of fact; but too often his stories bog down in description, the sociology becomes more important than the drama."
D178 T[ay]or]., P[erry]. "Weekly Book Review." The Recorder and Times [Brockville, Ont.], 19 Nov. 1971, p. 2. Taylor describes this particular collection by Hood as "the most regional (Montreal, eastern Ontario) of his collections" and questions whether "the regionality sometimes interferes with the universality of his themes." While Hood maintains "his usual standard of excellence," Taylor detects "an aura, meaning halo, or even veil, of ego surrounding the stories. The author is omnipresent, not a dispassionate observer, almost a godlike figure who occasionally intrudes himself into the narrative when he should not."
D179 Dawe, Alan. "... and a Third with a Little Help from Our Friends." Rev. of The Fruit Man, The Meat Man & The Manager, by Hugh Hood; Fourteen Stories High: Best Canadian Stories of 71, ed. David Helwig and Tom Marshall; and Tales from the Margin, by Frederick Philip Grove. The Vancouver Sun, 26 Nov. 1971, Sec. Leisure, p. 36A. Even the lesser stories in the volume "are marked by Mr. Hood's compassion, his ecumenical interest in his world, and the sharp and loving eye he casts over the details he remembers." Dawe has special praise for "Getting to Williamstown," the story of the dying Mr. Fessenden, whose memory "flashes back to what has become the illuminating metaphor of his life, the car trips he used to make with his family in rural Ontario." Perhaps, Dawe suggests, Mr. Fessenden does in the end get to Williamstown.
D180 Grosskurth, Phyllis. "There's No Doubt He Loves the Place." Saturday Night, Dec. 1971, pp. 42-43. Grosskurth contrasts the "Exotic, glamorous Hollywood types" in The Camera Always Lies and the more commonplace minutely observed details of these "enormously" likeable stories, and speculates that perhaps Hood "has relaxed into writing the way that comes naturally to him." "Hood's greatest strength" is "his understanding of people's perplexed incomprehension of themselves." He also has the "rather rare trait" of "a very tender feeling for people." Grosskurth distinguishes between the structures of Hood's stories and Callaghan's.
D181 Richmond, John. "Lift-Off for One S. Claus." The Montreal Star, 4 Dec. 1971, Sec. Entertainments, p. B-3. Richmond praises the "wide range of interest" and the "delicacy and faithfulness of feeling" in the collection, as well as Hood's "special talent to analyze and amuse wryly." In Hood's stories, "Sudden, apt phrases reveal character and relationships with artistic awareness. Seemingly disparate items cement into a congruous whole."
D182 Lawford, Diane. Rev. of The Fruit Man, The Meat Man & The Manager, by Hugh Hood; Fourteen Stories High: Best Canadian Stories of 71, ed. David Helwig and Tom Marshall; and The Story So Far, ed. George Bowering. Quarry, 21, No. I (Winter 1972), 75-77. Lawford discusses several stories in some detail and praises Hood's handling of "character and setting," his understanding of different cultures, his use of different styles and tones, and the fact that the stories "are honest, low-keyed and . . . generally lacking in both pomposity and sentimentality." Overall, it is a "splendid collection."
D183 Thompson, Kent. Rev. of The Fruit Man, The Meat Man & The Manager. The Fiddlehead, No. 92 (Winter 1972), pp. 116-23. Hood is probably the "most ambitious practitioner" of the short story in Canada, "demanding more of the form than almost any other writer, and he is one of the few who is concerned with the totality of a collection . . . as an entity which has its effect in sum and not in bits and pieces." Thompson admires this "coherence," but emphasizes that Hood's work "is always exploratory .... expanding on its previous discoveries, . . . and always deepening." Thompson discusses Hood's previous fiction and concludes that for Hood, "meaning, in an abstractly relativistic universe, results from the individual creation and imposition of meaning." The moral decisions involved in creating each individual's identity require considering "one's time, place, and history," choosing "among possibilities and vaguely realized consequences" rather than between absolutes, and deciding "if one's creation of an identity is valid and worthwhile." Thompson devotes special attention to the triptych of stories introducing the volume.
D184 Stevens, Peter. "Are Hood's Stories the Year's Best?". The Windsor Star, 8 Jan. 1972, p. 40. Hood is "one of Canada's best fiction writers of the past decade," although he "has not perhaps received the praise he deserves." These stories deal "not with the anonymous sprawl of a megalopolis but rather with the enclosed communities within a large city, in this case, Montreal." The stories "posit a religious response to life," examining "man's search for love and significance in life," but often revealing "an inherent sadness" as the characters "tend to learn 'the magnitude of [their] defeat.'" Stevens comments on Hood's humour and irony, the "rather haphazard and digressive" narration, the "variety of viewpoints," "two superb monologues," and a "strange hallucinatory story."
D185 Hoeschen, Susan. "The Whole Is Greater than .... " Winnipeg Free Press, II March 1972, Sec. New Leisure, p. 20. Hood "is a Montrealer by instinct," who loves and understands that city, and his "characters are always reaching out for humanity, trying to get involved, trying to touch another human being, but not quite succeeding." "A thread of the loneliness of the individual ties the stories together." "The stories gain from each other. Each, on its own, would not have the impact of the whole." "Hood is best in a more serious tone describing, sometimes with irony, the interactions of people."
D186 McNamara, Eugene. Rev. of Fourteen Stories High. Best Canadian Stories of 71, ed. David Helwig and Tom Marshall; The Fruit Man, The Meat Man & The Manager, by Hugh Hood; and When He Was Free and Young and He Used to Wear Silks, by Austin Clarke. Queen's Quarterly, 79 (Spring 1972), 120. McNamara comments on individual stories in the collection. Many of Hood's stories "come to the brink of cuteness, where the right words, the best stage properties, the exact touches, like prestige books cornered on a coffee table, threaten to overwhelm the fiction. But most of the time, the stories avoid the final pitfall and work brilliantly."
D187 Cameron, Donald. "Books." Maclean's, April 1972, p. 108. Cameron compares Hood with Hugh Garner, in that he is "fascinated by the teeming fecundity of human life" and by "realities outside his private concerns." The best stories represent "objective reports of life-styles quite independent of Hood," while "even the worst stories tend toward triviality rather than self-absorption. The book is uneven, but strong. At 43, Hood is still growing as a writer."
D188 Kirkwood, Hilda. Rev. of Violation of the Virgins and Other Stories, by Hugh Garner; and The Fruit Man, The Meat Man & The Manager, by Hugh Hood. The Canadian Forum, April 1972, p. 53. "Hugh Hood writes of Montreal, reminisces about Toronto (Sherbourne Street and its former French colony) and takes a trip or two into inner space." He "is much concerned with that aspect of time which passes through us to produce age." Yet since Hood's stories are no more outdated than the human soul, perhaps he "does belong to the Godfrey era."
D189 Robertson, Anthony. Rev. of Fourteen Stories High: Best Canadian Stories of 71, ed. David Helwig and Tom Marshall; The Fruit Man, The Meat Man & The Manager, by Hugh Hood; and The Day Before Tomorrow, by David Helwig. West Coast Review, 6, no. 4 (April 1972), 18-19. Robertson praises the "deftness" and "persuasive detachment" with which Hood expresses both humour and pathos. This "perceptive irony" or "stance of ironic acceptance . . . defines Hood's abilities as well as his limitations" and saves Hood's "evenness" from becoming monotonous. "His people fall inward and not at all dramatically. His intensity is in the care with which that inward sag is revealed with a detail that transforms it."
D190 Rudzik, O. H. T. "Letters in Canada: 1971. Fiction." University of Toronto Quarterly, 41 (Summer 1972), 317. Rudzik refers to the suggestive title of Hood's story "Places I've Never Been," but reflects that "somehow it is the repeated journey from Upper to Lower Canada that emerges as the justifiably more important final trip." He argues, briefly, that "To try to negotiate such an axis and make Toronto and Montreal collate is a strenuous undertaking. It can work and it does, with whimsy such as the last bit of a prose poem in the collection as an acceptable trade-off."
D191 Stephens, Donald. "The Bright New Day." Canadian Literature, No. 54 (Fall 1972), p. 85. "Hood's focus" and "the core beneath the book's surface" consist in "Awakening to realities other than one's own." In this collection "Events and characters evolve outside his range, while he preserves a rewarding detachment." Stephens praises Hood's "stylistic experiments," especially "Whos Paying for This Call," and concludes that "Hood continues to grow, to reflect his time, in his technique and in his themes."
D192 MacKelvie, Vernon S. Rev. of The Fruit Man, The Meat Man & The Manager. Canadian Reader, 13, No. 8 ([Nov. 1972]), 8. MacKelvie praises Hood's "ability to communicate those qualities in people that irritate us and make us impatient with them, but which also make us love them, and even respect them." Hood has "an observant eye and ear" and writes with humour, compassion, and humaneness. He handles dialogue well and "his descriptions of people and places are excellent."
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
Item Number: ABCMA05HHP2000005003004009
Record: 242- Title:
- Part 2 Works on Hugh Hood; Selected book reviews; The Governor's Bridge Is Closed and Scoring: The Art of Hockey
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- Part 2 Works on Hugh Hood; Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Criticism & interpretation -- Bibliography
Titles critiqued: GOVERNOR'S bridge is closed (Book); SCORING: The art of hockey (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 2: Works On Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP2
p. 345-348 (4 p.) - Links:
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; The Governor's Bridge Is Closed and Scoring: The Art of Hockey
Struthers, J.R. (Tim) (compiler)
D276 Simpson, Leo. "Masses of Fact Submit to Dazzling Prose." The Globe and Mail, 13 Oct. 1973, Sec. Entertainment-Travel, p. 35. Simpson analyses the appropriateness, for different essays, of the versatility of Hood's prose style, the control of matters of organization, vocabulary, and tone. Simpson also admires Hood's "gift for handling facts-- sometimes mountains of sheer information--with ease, subduing them and integrating them and making them interesting." "Hood's best fuel is enthusiasm," and therefore Simpson finds Hood's "thought pieces less interesting than his descriptions."
D277 Barbour, Douglas. "Travels with a Fine Essayist." Edmonton Journal, 20 Oct. 1973, Sec. Leisure, p. 76. Barbour has high praise for Hood's essays--for the "style, wit, and grace," and for Hood's "sharp intelligence and loving, humorous perceptions." Barbour praises Hood's ability to feel, and to convey, a sense of fun, and at the same time to discuss the "serious considerations" which, Hood knows, "are part of the larger human comedy he comments on." Hood is "a Christian-humanist who believes in the triumph of the true comic vision,'" and who "always maintains a non-tragic perspective upon everything he observes."
D278 Morley, Patricia. "Bridges, Ravines and Essays." The Ottawa Journal, 20 Oct. 1973, Sec. The Arts, p. 34. Hood is "a growing, changing artist, with enough below-the-surface continuity to make the changes that much more interesting." His essays "are personal, often impressionistic--like the work of his favorite painter," Monet. "The simplicity and directness of Hood's style is thoroughly compatible with his matter, and likely to prove attractive to a wide range of readers."
D279 Fulford, Robert. "Hugh Hood--A Writer Whose Ambition Is Limitless." The Toronto Star, 27 Oct. 1973, Sec. Entertainment, p. G5. Hood is an "astonishingly ambitious writer," and some of his essays "are, for the work of a Canadian, almost unbelievably wide-ranging." He can also write "humble little pieces that prove his extreme dedication to concrete facts." Fulford praises the essays' joyousness and "the lively and unorthodox conservatism . . . that warms them and brings them to life." "In a world of mourners, he is a celebrant. In a world fragmented, he reaches for wholeness."
D280 O[wen]., I. M. Rev. of The Governor's Bridge is Closed. The Tamarack Review, No. 61 (Nov. 1973), pp. 75-76. Owen celebrates the talent for journalism or documentary and praises Hood's collection. He takes exception, however, to Hood's apparently self-defensive comment that Mailer "wouldn't be nearly so interesting to read if he didn't have gifts and disciplines superior in kind to those of the most talented journalist." Unlike many other Catholic writers, Hood "doesn't display all his subjects through the glass of dogma."
D281 Sutherland, Fraser. "Paperback Reprints." Quill & Quire, Nov. 1973, p. 8. Although Sutherland finds the essays "uneven" and occasionally annoying, he praises his favourite four essays for being "celebratory in the religious sense." Sutherland observes that "Hood's tone is unfalteringly tolerant and charitable yet he manages to be optimistic without being puerile--a difficult feat." Hood is "Haunted by connections and recurrences" and "he has committed himself to understanding them."
D282 Gilmore, Anne. "Book of Evocative Essays Coup for Versatile Writer." The Saturday Citizen [Ottawa], 15 Dec. 1973, Sec. I, p. 19. "Hood is one of Canada's best short story writers" and "a first-rate journalist." Hood's non-fiction, like his fiction, shows an "acute eye for detail" as well as "economy of language." "His images are sharp and his moods evocative. His writing is forceful, clear, energetic, and in the best tradition of what has been called the 'new journalism.' "
D283 Bishop, A. G. Rev. of The Governor's Bridge is Closed. Quill & Quire, Jan. 1974, p. 13. Bishop criticizes some of the essays for "ephemerality" and finds the collection as a whole "uneven." Yet Bishop appreciates the "gusto and informality" of Hood's writing, and states that "The best essays reveal a mind eager, catholic, sane, relaxing in a world it loves."
D284 Devereux, E. J. Rev. of The Governor's Bridge is Closed. The Canadian Forum, April 1974, p. 37. Devereux admires the essays' "style, clarity, and good humour" and Hood's "cheerful but firm belief" in Canadian life and culture. He likens the essays to The Prelude, and argues that "the 'I' who speaks in them is a person constantly examining what things mean to him so he can see what they mean to everybody." The title essay provides "a Wordsworthian sense of the growth of the poet's mind, without the corresponding sense of loss of the glory and the dream." Hood's own sense of identity allows him to 'ignore the obsessive Canadian search for identity and myth and concentrate on creation."
D285 Northey, Margot. Rev. of The Governor's Bridge is Closed. The Humanities Association Review, 25 (Fall 1974), 364-65. Northey compares the merging of fact and fiction in the title essay with Hood's Around the Mountain: Scenes from Montreal Life, and she explains why Hood's essay writing resembles Charles Lamb's more than it resembles Norman Mailer's. Hood "synthesizes the novelist's narrative skill with a good reporter's pursuit of accurate documentation." His essays can be "personal," "anecdotal," or "light-hearted." They can also be "formally analytic" or "strongly moral and philosophic--although "he is never 'preachy' or satiric." Occasionally Hood's essays fall short of his Wordsworthian aim of exhibiting "the monumental element or 'visionary gleam' in everyday life" and become "over-elaborate" or "too rambling"; but usually they succeed as Hood "enters into the spirit of life with gentle grace and a wondering mind.'"
D286 Wolfe, Morris. "Superior Journalist." Canadian Literature, No. 62 (Fall 1974), pp. 102-04. Hood is "an inferior novelist" but "a superior journalist." Of Hood's essays, Wolfe says, "The range and depth of his interests and opinions is remarkable. I can think of no other Canadian writer whose love of 'all things both great and small' and whose ability to communicate that love are as great." He discusses Hood's "talent for arguing the seemingly unarguable, connecting the seemingly unconnectable and making it all somehow seem obvious," and gives examples of "Hood's particular brand of radical juxtaposition."
D287 Stevens, Peter. Rev. of The Governor's Bridge is Closed, by Hugh Hood; Patterns of Isolation in English Canadian Fiction, by John Moss; Towards a View of Canadian Letters. Selected Critical Essays, 1928-1971, by A. J. M. Smith; and Songs My Mother Taught Me, by Audrey Thomas. World Literature Written in English, 13 (Nov. 1974), 253-55. This collection of personal essays resembles Around the Mountain, where factual essays widen out into fiction; however, The Governor's Bridge Is Closed, though "interesting," nevertheless "falls short of his fiction." Stevens describes Hood's "super-realism" and praises the essays on larger subjects in which Hood "treats the facts he records as they give rise to ideas"; but he objects when "Hood's experiences remain rooted in such specific things" that someone with different experiences "is left outside the facts and the transcendental elements do not emerge."
D288 Nixon, Virginia. "Sports Come Alive in Segal Exhibit, Book." The Gazette [Montreal], 27 Oct. 1979, Sec. Entertainment, p. 110. "Equally as important as the sexual allegory in Hood's account is the way the game is an enactment, often all too literal, of the human body's skirmishes with physical danger." Nixon concentrates mostly on Segal's "dreamlike" paintings, but also quotes remarks by Hood on the violent and sexual aspects of hockey.
D289 Andrews, Ian A. Rev. of Scoring: The Art of Hockey. Canadian Book Review Annual: 1979. Ed. Dean Tudor, Nancy Tudor, and Kathy Vanderlinden. Toronto: PMA, 1980, p. 87. Hood's text is essential to the interpretation of Segal's paintings. Hood draws on "a multitude of literary and historical sources" to show "the sexuality of this sport" and juxtaposes "the weapons of hockey stick and puck with numerous historical examples of projectiles." The audience for this book "will probably be restricted to art connoisseurs who are also sporting enthusiasts."
D290 Hume, Christopher. "Jock and Jill on Ice." Books in Canada, Jan. 1980, p. 13. Hume ridicules Hood and Segal's view of hockey as "a metaphor for sex." Hood is a longtime "admirer and champion of Segal's work"; but Segal's disturbing paintings "finally end up trapped in their own imagery," having "lost any potency."
D291 Archer, Anne. "Ice Hockey and the Fall of Man." Rev. of Scoring: The Art of Hockey, by Hugh Hood and Seymour Segal; and Great Canadian Sports Stories, ed. George Bowering. The Whig-Standard Magazine [The Whig-Standard] [Kingston], 12 Jan. 1980, p. 25. Hood's "several thousand words . . . more often obscure" than evince the analogy between hockey and sex. His "narrative can be wearisome," while Segal's paintings "are amazing." "Where Hood enthusiastically purports to, Segal does touch on myth." The book "is marred by Hood's string-of-adjectives approach. Hood bombards and bullies his audience into accepting Segal's genres." "More offensive, however, is Hood's locker-room manner. . .His often vacuous phrases . . . ring with a false bravado." However, his "thesis is more plausible than preposterous," as Segal demonstrates.
D292 French, William. "Freudian Analysis Reveals Hockey as Sexual Combat." The Globe and Mail, 5 Feb. 1980, Sec. I, p. 17. French comments on the Freudian sexual parallels that Hood and Segal draw in "this quirky and provocative book." French fears that Hood is "I'm afraid he's [Hood is] serious, even scholarly, and probably hopes to gain wide recognition for his contribution to national self-knowledge. He is, after all, one of our most serious novelists .... He has the academic's habit of analyzing, synthesizing and postulating, the need to theorize and create mythologies .... He is also a recognized expert on hockey." French outlines Hood's friendship with Segal and discusses the paintings.
D293 Matheson, R. E. Rev. of Scoring: The Art of Hockey. CM: Canadian Materials for Schools and Libraries, 9 ([Spring] 1981), 140. Matheson does not like the "metaphor of sex and hockey," but concedes that it is "skillfully developed." "Hood was able to elicit a great deal of compassion and sympathy" in his sketch of Segal. The book is listed for "Grades 12 and up," but Matheson assesses it as "Not recommended for school libraries or classrooms."
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
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Record: 243- Title:
- Part 2 Works on Hugh Hood; Selected book reviews; The Swing in the Garden
- Other Title:
- Part 2 Works on Hugh Hood; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Criticism & interpretation -- Bibliography
Titles critiqued: SWING in the garden (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 2: Works On Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05HHP2
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; The Swing in the Garden
Struthers, J.R. (Tim) (compiler)
D72 French, William. "One Down, II to Go. Hood's Good and Toronto Real." The Globe and Mail, 25 Sept. 1975, Sec. I, p. 15. French draws attention to the theme of "class consciousness" in the novel, and comments on how Hood's use of narrative technique allows Matthew Goderich to comment on the period of his first nine years of life, from 1930-39. "The Swing in the Garden is skillfully structured, alternating between reportorial descriptions of Toronto in the 1930s... [and] interpretation, philosophical digressions, literary and artistic allusions," and political commentary. "Hood has called his technique documentary fantasy, but the emphasis is on the documentary." If Hood can follow up on his "good start," then "the series will have considerable literary and historical significance."
D73 Morley, Patricia. "Hugh Hood: Shaping the Concrete Data." Saturday Night, Oct. 1975, pp. 78-79. Morley compares Hood's concern with social class to Galsworthy's, and states that "Like Balzac, Hood is both a romantic and a realist; the meticulous detail, the faithful depiction of undistinguished lives, coexists with a religious idealism and a romantic approach to women." The Swing in the Garden "is social history become art through the feeling for myth that underlies the factual details, and through the strength of the fictional characterization."
D74 Vintcent, Brian. "One Novel Down II to Go." The Toronto Star, 4 Oct. 1975, Sec. Entertainment, p. H7. Vintcent praises the quality of Hood's fond remembrances of Toronto and the "vigor and clarity" of his writing, and states that The Swing in The Garden "has all the nostalgic charm and documentary flavor of a series of old sepia prints." However, as the first volume of an ambitious, epic cycle of twelve novels, the book represents "a weak start," hampered by a lack of "memorable characters" and by a form which is "a rag-bag of random opinions and observations on the passing scene: interesting in a sociological and documentary way, but hardly Proustian."
D75 Rix, Beverley. "Toronto Limbo: Hood's New 12-Part Series." The Saturday Citizen [Ottawa], 25 Oct. 1975, Sec. 4, p. 78. Rix refers to Hood's "strong penchant for detail" and "phenomenal sense of recall," and praises "the surprising energy of this undertaking" and "the erudition and the frequent elegancies of style." The Swing in the Garden's "discursive and expository form" underplays narrative and character. "What is missing is not feeling as such ....but, rather, an emphasis of feeling, giving an emotional charge to certain incidents, characters or descriptions."
D76 Garebian, Keith. "Hood Has Detail, Not Emotion." The Gazette [Montreal], 8 Nov. 1975, Sec. 4, p. 49. "Too often, Hood appears to be outside his subjects. . . because of his pedantry .... He is a veritable thought-machine but he sometimes buries feeling under a surfeit of data." The Swing in the Garden "suffers from a top-heaviness of intellection," as "Hood shies away from suffering, or looks at it quickly and fleetingly." Hood "can tell us a lot about Canadian society in the thirties, expanding consciousness, colonialism, boyhood, and moral style, but he does not always dramatize these themes effectively." Garebian also discusses how Matthew Goderich's "mind assembles bits and pieces of memory and makes these serve as ligatures to tie discrete experiences together through time and space." For a critical response to this review, see Aileen Collins, "Misunderstanding of Meaning and Method," The Gazette [Montreal], 22 Nov. 1975, Sec. 4, p. 41.
D77 Morley, Patricia. "Hood's Social Mythology." The Ottawa Journal, 22 Nov. 1975, Sec. The Arts, p. 42. Morley compares The Swing in the Garden with You Cant Get There From Here: "Toronto ... is as deceptively real as the Leofrican terrain is deceptively unreal. Both are mythic lands, more real than the real, countries of the mind." In The Swing In the Garden, "The texture of life . . . is incredibly dense in remembered detail," but Hood transforms the data of remembered events into "artistic myth." Morley hopes that Hood will bring his wit more into play as the series continues.
D78 Williamson, David. "Start of an Epic." Winnipeg Free Press, 29 Nov. 1975, Sec. New Leisure, p. 15. "Literary statisticians will mark 1975 as the year that English author Anthony Powell completed his 12-volume work while Canadian author Hugh Hood started his." The Swing in the Garden contains "many vivid childhood images," but "some of the effect is spoiled by stilted language ... , and as total recall of childhood, the book falls far short of Steven Millhauser's novel, Edwin Mullhouse.'" "None of the characters ever shows much emotion -- one of the dangers of a consciously philosophical novel." However, the book is "well-written" overall.
D79 Sandler, Linda. Rev. of The Swing in the Garden. Canadian Reader, 16, No. 10 ([Dec. I975]), 5-7. Sandler describes Hood as Canada's self-designated epic historian and the book as an "epic novel," and discusses the characters' involvement in the social and factual details of Toronto life during the Depression. Andrew Goderich's resignation from the University of Toronto is "The key event in the book." "The collecting and recording impulse is strong in Hood, and he hasn't yet found the ideal proportions of fact, philosophy and drama--the kind of action we look for in fiction." Nevertheless, The Swing in the Garden holds "a thousand treasures" and is "superbly written."
D80 Walker, John. "A Catholic Boyhood: Valuable Memories." Rev. of The Luck of the Irish: A Canadian Fable, by Harry J. Boyle; and The Swing in the Garden, by Hugh Hood. The Whig-Standard [Kingston], 19 Dec. i975, Sec. i, p. 7. "The parallels with Proust -- and Anthony Powell -- are obvious, the involuntary memories being precipitated not by madeleines and sophisticated musical agencies, but by mundane, magical objects like swings and toy cars."
D81 Long, Tanya. Rev. of The Swing in the Garden. In Canadian Book Review Annual: 1975. Ed. Dean Tudor, Nancy Tudor, and Linda Biesenthal. Toronto: Peter Martin, 1976, pp. 116-17. Long finds the book's narrator, Matthew Goderich, "very appealing," and comments on the "humour and irony" and "directive force" of the older narrative voice in its perspective on its young self. The Swing in the Garden shows Hood's "extraordinary eye and memory for detail" and his "love for the world," and it moves with "wit and dexterity."
D82 Morley, Patricia. "Where the Myth Touches Us." Canadian Literature, No. 67 (Winter 1976), pp. 99-102. In The Swing in the Garden, Morley finds her "personal terra cognita turned into myth." She describes some of Hood's references to Proust and his handling of time, then praises Hood's sensitivity to "the ambiance of class feeling." Like George Eliot and Balzac, Hood "obviously aspires to catch the entire social fabric in his net." Morley compares The Swing in the Garden with Around the Mountain: Scenes from Montreal Life in style, refers to Hood's first four novels, and decides that Hood conveys "the double reality" of "Facts transformed."
D83 Wieland, Sarah. Rev. of The Swing in the Garden. Quill & Quire, Jan. 1976, pp. 20-21. The Swing in the Garden is "fictional autobiography" not "autobiographical fiction." "Hood allows himself too much novelist's licence. . . in imposing his considered perceptions on Matthew's recollections." The book is also marred by "unbelievable characters," a tendency towards inventory, a failure at "infusing the minutiae of daily life with a vital sense of place or person history," a "too neatly two-dimensional" picture, and a lack of entertainment and "imaginative depths."
D84 Stevens, Peter. "Another 'Great Canadian Novel'. . .in Twelve Volumes." The Windsor Star, 3 Jan. 1976, p. 39. Stevens praises Hood's ability to record the "imaginative world children's play inhabits," and to extend this treatment by including "the narrator's thoughts on the wider implications of these facts of childhood." In this way, "The novelist easily turns into the essayist, as he uses very simple incidents as examples with which to ponder larger ethical, religious and political questions." Yet these discursive segments can be "interesting," "inconveniently placed within the narrative," or "over-long to the point of boredom."
D85 Peterson, Kevin. "Canadian Proust Embarks on Series." The Calgary Herald, 9 Jan. 1976, Sec. Friday, p. 61. Peterson compares Hood's new series with Proust's Remembrance of Things Past: the strengths of The Swing in the Garden "are the same descriptive, evocative passages that are the strengths of Proust, its weaknesses are the same leaden movement of events and lengthy periods where readers tend to drowse." "There can be little doubt that if such a project needs to be undertaken in Canada, Hood is the author to accomplish it"; but Peterson wonders "whether Hood's talent is being used as best it can" and withholds judgment until the next volume appears. For Hood's reply, see C169.
D86 Struthers, J. R. (Tim). "First of Series on Canadian Life Bears Mark of a Master." The London Free Press, 24 Jan. 1976, Sec. 2, p. 25. The Swing in the Garden is "a novel, an extended 'digressive' essay, an autobiography, a topographical map, a snapshot album, a documentary film, a history book, a philosophical work, a piece of socialist rhetoric and a commentary on national economic policy"; but essentially "It is the beginning of an elaborate social mythology." The book "focuses on the mid-'30s as a time of social revolution which eventually remade the predominantly rural and small-town character of Canadian life" and emphasizes the "changes in expectation that define, for Hood, the evolving Canadian style." Hood's handling of narrative point of view by means of Matthew's "expanding and contracting consciousness" is both innovative and perfectly appropriate to Hood's theory of " 'the elasticity of time.'"
D87 Richler, Mordecai. "Eye on Books." Rev. of Inside the Easter Egg, by Marian Engel; Selected Stories, by Norman Levine; The Swing in the Garden, by Hugh Hood; and Northern Lights, by The Canadian Independent Astrologers Order. Book-of-the-Month Club News, Feb. 1976, p. 7. Although Hood "first made his reputation as a story writer," he has -- with the publication of The Swing in the Garden and the commencement of The New Age/Le nouveau siecle--"suddenly revealed himself as an author of truly gargantuan appetite."
D88 Robertson, Anthony. Rev. of The Swing in the Garden. West Coast Review, 10, No. 3 (Feb. 1976), 35-36. What Hood achieves "is the location of a life in time with all the substance of detail and precise placement. . . and simultaneously the release of all boundaries that would hold the novel to that one time and place." For Hood "the world of objects and our response to them has an immense and significant variety." Yet Hood succeeds in avoiding "the embolism of sentimentality," a rare accomplishment particularly in novels of childhood. To achieve this, "the novelist has got to re-invent and redefine the language." Hood manages to "break through to the experience itself, through beyond what the conventionalizing of childhood or any other period of life would make of what is unique." The Swing in the Garden is "a novel that it is possible to 'go right around' " -- a phrase which for Robertson "signifies quality of intention and achievement."
D89 Wiseman, Adele. "Roman Fleuve." The Canadian Forum, Feb. 1976, p. 30. Hood's model Proust "uses his anguished, neurasthenic, prurient, voyeuristic little-boygrowing-old to probe, discover, and reveal the multilayers of complexity of the characters with whom he comes in contact, and the society in which he, for a long time, aspires to shine"; whereas Hood's work is "discursive" and "People are reflected on in an anecdotal and descriptive way." Hood "maps people as he maps places and events, in painstaking but essentially surface detail. His interests are historico-social rather than psychological-dramatic,' Hood's "total recall" is "not at all the same thing as those sudden moments of illumination about which Proust speaks, which are so piercingly revelatory of the inner and the outer simultaneously recaptured"
D90 Dawe, Alan. "Swinging to the '30s." The Vancouver Sun, 30 April 1976, Sec. Leisure & TV Week, p. 36A. The Swing in the Garden "is only a qualified success" because of the mixed blessing of Hood's "total recall." Sometimes these "lovingly recalled experiences are interesting to the reader who wasn't there; but some parts go on too long." However, the volume "is considerably elevated by the presence of the narrator's father Andy Goderich."
D91 Pryce-Jones, David. "The Week's Novels." Rev. of The Swing in the Garden, by Hugh Hood; Testament, by David Morrell; and Hill of Fools, by R. L. Peteni. The Sunday Times [London, Eng.], 20 June 1976, p. 38. "Hood is stuck in the Proustian stage, a specimen of childhood regression." The Swing in the Garden illustrates "the famous law of diminishing returns, whereby the more detail a novelist provides, the less composed his overall picture becomes."
D92 Clever, Glenn. Rev. of The Swing in the Garden. Canadian Fiction Magazine, No. 22 (Summer 1976), pp. 104-07. Clever objects that Matthew Goderich's function as a spokesman or vehicle for achieving the aim of The New Age/Le nouveau siecle -- to present the meaning of Canadian life in the twentieth century--is hampered by the limitations of his own knowledge and experience and that the interpolation of Matthew's adult opinions into his remembrances "destroys his credibility as a narrator." Yet Clever praises The Swing in the Garden for its dense texture and for helping to define our past. "Hood is a past master at creating characters economically; and the anecdotes and episodes that bring them alive as individuals sparkle with humour and human interest."
D93 Evans, Virginia. Rev. of The Swing in the Garden. Quarry, 25, No. 3 (Summer 1976), 79-80. Evans describes The Swing in the Garden's weaknesses in "inner life, .... imagination, .... characterization," and "design" when it ~s seen "as a novel," and its charm "as a memoire." Hood's portrayal of the developing consciousness of Matthew Goderich conveys "both the actual and the implicit realities" impinging on him. But Evans questions the effect of the conception behind Hood's use of documentary--"that physical realities precede moral awareness"--and concludes that The Swing in the Garden "lacks coherence of vision and fails to live up to the promise of its parts."
D94 Rudzik, O. H. T. "Letters in Canada: 1975. Fiction." University of Toronto Quarterly, 45(Summer 1976), 316. Hood's technique of "Documentary Fantasy" emphasizes "the sense of history, particularly the history of the person as it is articulated and developed through the memory and the environment into which the self emerges and out of which it develops." Rudzik refers to Hood's short story "Where the Myth Touches Us," and describes The Swing in the Garden as "the first step in his own attempt to demonstrate, in far more massive and complex terms than he has previously allowed himself, the possible dimensions of such a concept."
D95 Struthers, J. R. (Tim). Rev. of The Swing in the Garden. Queen's Quarterly, 83 (Fall 1976), 518-19. A slightly revised version of D86.
D96 Mills, John. Rev. of The Swing in the Garden, by Hugh Hood; and Two Stories: The Drubbing of Nesterenko & First Loves, by Hanford Woods. The Fiddlehead, No. 112 (Winter 1977), pp. 143-46. Mills is sharply critical of the innocence and bland Catholicism of Matthew Goderich and of the novel's "lack of any structure beyond that provided by free association," although he adds that later volumes in the series may somewhat correct this "undramatic and shapeless quality." "The novel is nevertheless filled with beautiful things. Few writers anywhere have Hood's facility in describing the physical world, and there are few indeed who have his intense love of it." Mills also states that Hood "is probably one of the five or six best short story writers now alive in the English-speaking world." For Hood's reply, see B221.
D97 MacSween, R. J. Rev. of The Swing in the Garden. The Antigonish Review, No. 30 (Summer 1977), pp. 98-100. The Swing in the Garden is "a very lively book." Hood, as "a true writer of short stories,... has allowed no passages where tedium could reign. Instead there is always movement, always humor, always a kind of nervous excitement." MacSween is sceptical, however, about whether Canada has the society and culture to support a project resembling Proust's.
D98 Whittaker, Ted. "Hugh Hood: Novel Series Improves." Rev. of The Swing in the Garden and A New Athens. Toronto Clarion, 23 Nov. 1977, p. 9. Hood's story proceeds by "offering a little dialogue and incident which provoke a giant loop of contingent or not-so-contingent detail and reflection, some of it often quite densely philosophical, before we're allowed to see again what's happening in the actual narrative."
D99 Salter, Denis. Rev. of The Swing in the Garden and A New Athens. Dalhousie Review, 59 (Spring 1979), 284-86, 288-89. "It is no exaggeration to say that with The Swing in the Garden Hugh Hood does for Toronto what Dickens did for London, Joyce for Dublin, Balzac for Paris and Farrell for Chicago: he makes Toronto, through the evocative and transforming power of his thinking imagination, into a sublime work of art." The Swing in the Garden "is not a traditional novel," but "a museum of the mind," "a highly interesting example of a spiritual and intellectual autobiography that offers a subtle blend of fictional characters and situations with a great deal of real and verifiable factual information."
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
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Record: 244- Title:
- Part 2 Works on Hugh Hood; Selected book reviews; White Figure, White Ground
- Other Title:
- Part 2 Works on Hugh Hood; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Struthers, J.R. (Tim) (compiler)
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- Bibliography
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Criticism & interpretation -- Bibliography
Titles critiqued: WHITE figure, white ground (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 2: Works On Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
ISBN: 920802680 (hardcover)
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; White Figure, White Ground
Struthers, J.R. (Tim) (compiler)
D1 Weaver, Robert. "On Writing." Toronto Daily Star, 8 Aug. 1964, Sec. 2, p. 28. Weaver praises Hood's "perception of the physical characteristics and social mores of certain parts of this country" and his creation of "a true sense of people working at a job or craft"; but he is somewhat critical of Hood's characterization.
D2 Buckler, Ernest. "Anti-Paintings of What Wasn't There." The New York Times Book Review, 16 Aug. 1964, p. 5. Rpt. (excerpts) in Contemporary Literary Criticism. Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Vol. xv. Ed. Sharon R. Gunton and Laurie Lanzen Harris. Detroit: Gale, 1980, 283. Buckler praises the insight which Hood brings to "a notoriously difficult subject - painting -- and indicates that "by subtle cross-illumination among its parts, the author casts fresh and searching light not only on the creative process itself but on the father-son relationship, the dynamics of marriage, the barrens of unfulfillment and the whole ambiguous issue of roots and growth." While Buckler does identify infrequent excesses in Hood's style, he concludes that Hood "can out-write many an established novelist. A slightly firmer rein on this bounding troika talent, and he should light up the sky."
D3 Rowe, Percy. "Book of the Week." The Telegram [Toronto], 22 Aug. 1964, Sec. 3, P. 19. "After a deplorable start this settles down to being a below-average novel." Hood's style "comes from the worst novels of the 19th century." Rowe castigates Hood's publisher for having "the presumption to compare this whimpering little effort with Joyce Cary's The Horse's Mouth."
D4 Pineo, Mari. "About Books." The Vancouver Sun, 28 Aug. 1964, Sec. Leisure, p. 16. Pineo praises Hood's "insight into the possible preoccupations which might make a contemporary artist great," his "lucid and witty" style, the beautifully "symmetrical development of the plot," and the depiction of the environment as "an integral part of his hero's life." Alexander MacDonald "has different obsessions" from Gulley Jimson in The Horse's Mouth.
D5 Stratford, Philip. "The Artist's Life." Rev. of Bright Day, Dark Runner, by George Cuomo; and White Figure, White Ground, by Hugh Hood. Saturday Night, Oct. 1964, p. 30. The story is "one of subtle and satisfying variations within the limitations of the normal and the possible." While "nothing much happens on the surface of this novel . . . everything seems possible," and this sense of possibility is the source of the excitement which lies beneath the novel's surface. "Hood combines the virtue of economy with the power of suggestion and lets the reader participate in the creative act."
D6 Carroll, John. "An Artist's Quest in Nova Scotia." The Globe Magazine [The Globe and Mail], 3 Oct. 1964, p. 15. Carroll examines the structure of the novel. "Perhaps Hood was so concerned with the intricately designed action that most of the energy went out of the characters and into the structure."
D7 Kattan, Naim. "Les Lettres canadiennes-anglaises: Peinture et amour entre Toronto et Montreal." Le Devoir, 5 dec. 1964, Sec. Arts/ Litterature/ Spectacles, p. 14. Kattan detects some affectedness, deliberateness, and calculation in the novel. Certain elements--considerations about art, erotic scenes, descriptions of nature, and the exoticism of the French Canadians -- reflect the author's wish to please the reader. Kattan sharply criticizes the French used by Madeleine: "Ce n'est ni le francais ni le joual mais plutot une langue fabriquee par l'auteur." However, the novel is redeemed by a touching account of the painter's Toronto childhood, a homage paid to the remembrance of the painter's father whom society crushed. For Hood's reply see B105.
D8 Percy, H. R. Rev. of White Figure, White Ground. The Canadian Author & Bookman, 40, No. 2 (Winter 1964), 16. The effects of the novel are contradictory, for "It has moments of considerable power and others of surprising flatness." As an example, "Hood's perception of Woman is sometimes superficial, and yet it is Madeleine, the wife of the book's central character, that gives the story depth and substance." However, "Hood has a considerable knowledge of the techniques, and a considerable insight into the creative processes of the painter, and he uses his awareness skillfully to lend depth and potency to his story."
D9 Pacey, Desmond. "A First Novel." The Fiddlehead, No. 63 (Winter 1965), pp. 70-71. Pacey admires Hood's short stories for "the fidelity of his small details" and "the authenticity of the larger issues which his stories realised." In White Ftgure, White Ground, however, Hood's handling of style, theme, and purpose is somewhat indecisive. "Hood seems to me not to have fully made up his mind whether to write a serious novel about the nature of the artistic experience or a romance about family feuds and ancestral guilt in rural Nova Scotia." Pacey praises the Toronto section of the novel, but regards Hood's Nova Scotia as a "romantic stereotype."
D10 Baldwin, R. G. Rev. of White Figure, White Ground. Queen's Quarterly, 72. (Spring 1965), 204. Baldwin describes how Alex MacDonald, at the appropriate age of 39, goes to Nova Scotia because "he has not yet come to terms with a dark strain in his nature that somehow derives from family conflicts experienced by his now-deceased father." Hood's "description of the creative process is, as artist and man link up, extraordinarily gripping." "Hood has written his competition into the ground."
D11 Godfrey, Dave. "Line and Form." The Tamarack Review, No. 35 (Spring 1965), pp. 96-101. Godfrey analyses in depth the structure and narrative technique of the novel. He comments on the theme of incest, "which is the well-wound mainspring of the book," and on the motives behind the painting of Light Source #1 and especially Light Source #2. Godfrey criticizes Hood's idealization of the perceptiveness of some of his women and notes one instance of excessive explanation. The tone of the novel is "quiet and subdued." "Hood is not in for early canonization. The miracles are not there, though the good works are stronger and clearer than before."
D12 Warren, Michael. "Artist's Passion." Canadian Literature, No. 25 (Summer 1965), pp. 76-77. Warren discusses the plotting of the novel and praises Hood's depiction of the people and setting of Nova Scotia as "one of the book's great achievements." Hood's main problem "is that the real action of the novel goes on between MacDonald and his canvas," not between Alex and either of the two women.
D13 Watt, E. W. "Letters in Canada: 1964. Fiction." University of Toronto Quarterly, 34 (July 1965), 370, 376-77. Watt praises Hood's characterization and his descriptions of the process of painting but considers that "an unreality" lies at the heart of the novel. "Brilliant as the depicted consciousness of Alex MacDonald is, what goes on in the painter's head cannot be this flow of semi-technical meditation. Or if in some sense it could be taken as an exact transcription, there would still be a distortion, for the painter's correlatives are line, colour, and texture, not words, however eloquent." Nevertheless, "the shaping and patterning, the elan, the sheer intelligence of White Figure, White Ground are undeniable, and the tone . . . is admirably sustained."
D14 Stewart, Margaret. Rev. of White Figure, White Ground. Canadian Reader, 7, No. 5 ([May 1966]), 8-9. Stewart appreciates Hood's characterization of several figures in White Figure, White Ground and describes Alex MacDonald as "a cheerful egotist, absorbed in his painting and himself, with a saving sense of humour." Because "the problems in this book are personal, not bi-cultural, not religious, not our dependence on American investment and influence," the novel will therefore please "people who are tired to the bone of the great Canadian hobby of breast-beating."
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
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Record: 245- Title:
- Part 2 Works on Hugh Hood; Selected book reviews; You Can't Get There from Here
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- Part 2 Works on Hugh Hood; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
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- Authors discussed: HOOD, Hugh; HOOD, Hugh -- Criticism & interpretation -- Bibliography
Titles critiqued: YOU can't get there from here (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Struthers, J.R. (Tim) (compiler) Part 2: Works On Hugh Hood.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 245-348)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 2: Works On Hugh Hood. Struthers, J.R. (Tim) (compiler); Toronto, Ontario : ECW Press, 1984, pp. 245-348
Part 2 Works on Hugh Hood; Selected book reviews; You Can't Get There from Here
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D49 Duffy, Dennis. "A Quiet Rage. Too Sane to Get at the Vertigo of Our Times." The Globe and Mail, 16 Sept. 1972, Sec. Entertainment-Travel, p. 31. "Hood's Africa is a country of the mind, a heart of darkness, . . . a moral landscape of considerable, though not total resemblance to a real one," and the book's opening description is "reminiscent of Conrad or even the Donald Creighton of The Empire of the St. Lawrence." But "The sort of novel that takes a mythical country populated with attitudes rather than with multifaceted humans must supply either exuberance of style or--as does the thriller-writer--magnitude of action." While Hood's book says "a great deal," it "is too sane to express a world gone mad, too levelheaded to get at our time's vertigo."
D50 Fulford, Robert. "Montreal Author Hugh Hood's Latest: A Convincing Reality Built on a Dream." Toronto Daily Star, 16 Sept. 1972, Sec. 6, p. 65. Rpt. ("In Brightest Leofrica") in The Montreal Star, 23 Sept. 1972, Sec. Entertainments, p. E-4. Rpt. in The Writer as Communicator. By Marianne Lafon. Montreal: Privately printed, 1973, p. 34. In the past, Hood's short stories seemed "filled with a sense of tangible reality that the novels have seldom achieved. But in this unlikely and unexpected book," Hood "has made his way towards a convincing reality by constructing an elaborate, careful dream." The book is "a dream-novel with an astonishingly accurate feel to it." Gradually the analogy between Leofrica and Canada recedes and "The story becomes a story for its own sake." While Hood "draws on many sources," he succeeds in creating "a convincing world all his own."
D51 McCutcheon, Sarah E. "Hugh Hood Meets Colonialism." The Gazette [Montreal], 7 Oct. 1972, Sec. 4, p. 50. The book's subject is "colonialism and its implications," and, despite its foreign setting, it does treat "the political and cultural problems of this country." The book's title may mean "that perhaps we are already there but must go outside to see, in different terms, where we are." Hood's "talent is best revealed in his rich but clearly expressed imagery" and allegory; however, the book gradually "becomes more of a thriller than an allegory."
D52 Stevens, Peter. "Power Politics from Afar in Clouds of Ironic Mist." The Windsor Star, 21 Oct. 1972, p. 8. "Even power is seen ironically in the novel: the major powers seek non-involvement." Yet Hood's successful use of irony "paradoxically operates against the reader's sense of immediacy" and limits his view of both the country and "the inner lives of the characters." If "Hood means us to see the Leofrican situation as a parable of all political operations" and to regard politics as "a cold and inhuman science," then this view "militates against the success of the novel, for although Leofrica has a believable geographical and political existence, it lacks for the most part a fully developed and convincingly human cast of characters."
D53 Dobbs, Kildare. Rev. of You Cant Get There From Here. Anthology. CBC Radio, 28 Oct. 1972. Hood has created "an African novel" that is clearly an "invention." Dobbs sees Jedeb as a "black Trudeau" and the tribal conflict "as an analogue to the tensions between French and English Canadians"; but he wonders what exactly is Hood's theme, that "Some political situations are not viable? .... The tribal religion. . . is beautifully imagined, the politics are intelligent, the geography and economics highly ingenious, the characters complex and interesting"; but Dobbs wonders "why the author has done it at all, or rather, why he has chosen to do it in just this way."
D54 Weaver, Robert. "Outsider's Views of Africa and Montreal." Rev. of You Cant Get There From Here, by Hugh Hood; and Going Down Slow, by John Metcalf. Saturday Night, Nov. 1972, p. 50. Hood's "most memorable fiction" is rooted "in the areas of memory and personal experience" and is "a kind of fiction of Canadian neighbourhoods." However, the manner and the tone of You Cant Get There From Here resemble Conrad's or Greene's or Waugh's. This book may be "a kind of quirky gesture by a writer who thinks of himself as a professional, . . . who in this case has decided to break away from the Canadian backgrounds on which he has built a reputation and write something that is entirely exotic and entirely a work of the imagination." Hood does not really intend Leofrica to be a metaphor for Canada.
D55 Dawe, Alan. "Shoes in the Piano and Nasty Homebrew." Rev. of You Cant Get There From Here, by Hugh Hood; and Going Down Slow, by John Metcalf. The Vancouver Sun, 9 Nov. 1972, Sec. Leisure, p. 33A. The book's plot "is a rather complex affair," and it "turns on a subtle twist of what usually goes on in such competitive circumstances." Dawe recommends the book "respectfully, but with no special enthusiasm." "Hood is a first-rate short story writer, and this novel shows it. It has several excellent parts, but the whole doesn't hang together very well."
D56 Nodelman, Perry. "Not Quite Big League." Winnipeg Free Press, 11 Nov. 1972, Sec. New Leisure, p. 19. Hood's book "is a good try" at "the Big Leagues," a "rather unusual" Canadian work which does not attempt to "get by on the strength of being native and homely." The book portrays how "the dream of an ingenuous bunch of idealists" becomes "a nightmare on the verge of civil war," and is reminiscent of "cynical political satires" by Evelyn Waugh. But Hood lacks "Waugh's coldness." Moreover, Hood's characters, unlike Waugh's, are overly conscious of their ridiculousness.
D57 Cloutier, Pierre. "All in All in Africa." Books in Canada, Nov.-Dec. 1972, pp. 26-27. Unlike Hood's usual "allegory of salvation," this "political novel" is "an experiment in the allegory of damnation." Cloutier compares Hood's book in some detail with Callaghan's A Passion in Rome and praises Hood's use of various technical vocabularies "in a number of contextual styles ranging from high seriousness to camp." "If you think of You Cant Get There From Here as an illegitimate mixture going from farce to dismemberment remember that books in which metaphor is mystery are large things that grow into verbal cathedrals. Mystagogic writing is always The Book, the encyclopedic reconciliation of all in all."
D58 "Cartographical Conceit." Time [Canada], 25 Dec. 1972, p. 7. The book "suffers from being neither a particularly biting satire nor a compulsively readable thriller." Hood remains a "miniaturist" who is "more successful as a short story writer" than as a novelist. A photograph of Hood by Sam Tata accompanies the review.
D59 Peterson, Kevin. "Clever Novel: Africa Twists the Hood Way." The Herald Magazine [The Calgary Herald], 2 Feb. 1973, p. 6. The tongue-in-cheek humour of Hood's title is directed at the increasing number of Canadian novels set in Africa. The book begins as "a comedy of errors"; but, half way through it, "the author -- who is one of the most masterful prose winters in Canada -- gets caught up in his story." Hood creates "an understanding and sympathy of feeling with the so-called hapless Leofricans" and, by suggestion, makes us "wonder just what sort of situation Canada is living in."
D60 Barbour, Douglas. "An Unworkable Nation Worked Over." Edmonton Journal, 16 Feb. 1973, Sec. Leisure, p. TAB 4. The book is a "bleakly comic study of contemporary world politics," an "intricately structured fiction" in which "the comedy gets progressively darker." Barbour compares the work with "a huge bas relief, a mural of people and actions, a procession of human comedy and pathos." Hood "has adopted the historian's stance in this fiction, which has allowed him to organize the vast body of material in a most interesting fashion." "The title is by implication a clear warning concerning all purely political solutions to the various problems of our time."
D61 Leitold, Ron. Rev. of You Cant Get There From Here. Dalhousie Review, 53 (Spring 1973), 169-71. Leitold views the book "as an allegorical fancy depicting the place of the 'good man' in an increasingly mad, chaotic and amoral world." The work is "imaginative" and "entertainingly written," but "the total effect for the reader is one of bewilderment because some ambiguity exists in Hood's treatment of his characters. . . particularly when humour dominates." Leitold also criticizes Hood's "heavyhanded use of symbols."
D62 Morley, Patricia. Rev. of You Cant Get There From Here, by Hugh Hood; and Going Down Slow, by John Metcalf. Queen's Quarterly, 80 (Spring 1973), 138-40. Hood's book "is simultaneously black comedy and a profound philosophical comment on human nature and societies; at once slapstick, tragic farce, and a sparkling parody of academic rhetoric and the classic disciplines of politics, economics and anthropology .... It is both a story of international intrigue and a parody of spy thrillers." "The novel is about the brotherhood of man under the fatherhood of God -- an ironic portrait, for the most part, of the brotherhood betrayed." Morley discusses in some detail the demonic character of Ralph MacSweyn.
D63 Stevens, Peter. "The World of the Novel: Some Recent Canadian Fiction" Rev. of Knowledge Park, by Stephen Franklin; The Trudeau Papers, by Ian Adams; Schmucks, by Seymour Blicker; A Man of Talent, by James Bacque; You Cant Get There From Here, by Hugh Hood; and Pandora, by Sylvia Fraser. The University of Windsor Review, 8, No. 2 (Spring 1973), 99-100. Stevens discusses the book's representation of "the manoeuvres of world power politics." "The struggle for political control is seen as constantly shifting, so that events are invariably played off against each other. Irony is the controlling device of the novel, but the reader is too readily distanced from the events." The book offers "very little insight into the real motivations of the characters and little depth to the characterizations."
D64 "Nightmare Parable." The Times Literary Supplement, 30 March 1973, p. 340. Hood's book "is both exciting and intelligent." The plot is generally "strong," although "sometimes a bit confusing," and it "contains very little of the spy-story cliché." Hood's "descriptive prose and the dialogue are both good, and include humour of an ironical kind--for this is basically a nightmare." The book "seems very much the work of somebody who knows and understands Africa."
D65 Thompson, M. B. "Montreal to Africa--Jump Too Ambitious?". The Saturday Citizen [Ottawa], 12 May 1973, Sec. 3, p. 79. Thompson criticizes Hood for showing "little inclination"--until You Cant Get There From Here -- "to work other ground than his own backyard," the "low-key" environment which, Thompson adds, Hood's "prose is better suited to describe than civil war in Africa." In You Cant Get There From Here, Hood mixes "horror, tragedy, and indignation" with "mild eroticism, mild humor, and mild caricature."
D66 Rudzik, O. H. T. "Letters in Canada: 1972. Fiction." University of Toronto Quarterly, 42 (Summer 1973), 347. Rudzik describes the book as a "dys-Utopia," as "a complex game of start and finish" in which "'here' and 'there' are themselves the central ambiguities," and as "a fable on the post-imperial condition" in which "the narrative works as an elegant caricature." Readers may object to the "overt fictionality and fancifulness" of Hood's methods, or to his "gamesmanship and bravura" in flaying about contemporary events and characters.
D67 Diotte, Robert S. Rev. of You Cant Get There From Here. Canadian Reader, 14, No. 6 ([Sept. 1973]), 8-9. Diotte criticizes an inconsistency in tone for failing "to support the pervasive use of irony" in the book and for failing to "establish a successful distance between the reader and the novel." The book's "convoluted plotting" seems "quite successful" only "after we allow for the shallow characterization, and sketchy relationships." Yet Diotte seems to appreciate "the political intrigues," along with Hood's comic treatment of myth.
D68 Smith, Rowland. "Telegrams and Anger." Rev. of Catholics, by Brian Moore; and You Cant Get There From Here, by Hugh Hood. Canadian Literature, No. 58 (Fall 1973), pp. 100, 101-02. The only interest which Hood's book creates is in its "credibility" or "accuracy," for the details in its imaginary setting are "lifeless" and the characters are "exemplary rather than living." While "The twists of the plot are unexpected and far from tedious," and the narrative -- "Aside from excessive explanations of the history and culture of the region -- is generally "entertaining," the book lacks any profound "political revelation" challenging "the viability of emerging states, the fatuity of a two-nation concept, the cynicism of the superpowers, or the wickedness of the world." Nor is it illuminating "to read the novel as a Canadian parable."
D69 Clever, Glenn. Rev. of You Cant Get There From Here. The Canadian Fiction Magazine, No. 15 (Fall 1974), pp. 105, 107, 109. Clever criticizes the book's action for consisting of "far too many incidents, each scarcely sketched in," and he criticizes Hood's characters for being essentially "silhouettes" and "puppetry." Yet Clever praises Hood's use of setting. "This is a swiftly moving story of suspenseful action told with economy and vigour," but the book is "a pastiche of genres," including "a story of political double-espionage," "a kind of animated travelogue," and "a kind of political sociological tract." Hood's book compares unfavourably with Conrad's Nostromo.
D70 Thorpe, Michael. "Current Literature 1973: III. Commonwealth Literature. Canadian." English Studies, 55, No. 6 (Dec. 1974), 551. The book is "a political thriller-satire that blends reminiscences of Graham Greene's 'entertainments' and Waugh's youthful sallies into Africa." Thorpe speaks of Hood's "escape from provincialism'" into a refreshingly exotic, imaginary setting; and he praises the work's crisp organization and "convincing surface realism. However, character and motive are thinned by the pressures of comedy and satire; there is no real protagonist."
D71 Johnson, Myron. "Why We Don't Get There." The Commonwealth [Regina], 16 June 1976, p. 12. You Cant Get There From Here is less "a political novel in the conventional sense" than "a political allegory . . . about colonialism and imperialism in the third world." A number of Canadian novelists, including Hood, apparently have found that their sense of Canadian colonialism "can be explored more fully and unambiguously in the African context where the contrast is starker and the experience more clearly defined." Hood's view of politics and human nature is "pretty cynical" and "not... wholly satisfying" if the title of his book means that "goodwill and decency and compassion. . . must inevitably be overtaken and crushed by self-seekers and sinister manipulators of power."
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Source: Struthers, J.R. (Tim) (compiler); . Part 2: Works On Hugh Hood, Toronto, Ontario : ECW Press, 1984. pp. 245-348 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05HHP2.
Item Number: ABCMA05HHP2000005003004004
Record: 246- Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; A Fairly Good Time
- Other Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews
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- Reference Series
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
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- Bibliography
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- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Criticism & interpretation -- Bibliography
Titles critiqued: FAIRLY good time (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 2: Works On Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 203-228)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP2
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Source: Part 2: Works On Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 203-228
Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; A Fairly Good Time
Grant, Judith Skelton (compiler)
D79 Haffner, S. A. Rev. of A Fairly Good Time. Library Journal, 1 April 1970, p. 1391. A brief review which supplies a plot summary and concludes: "Women readers might like this."
D80 Cassill, R. V. "Gossip Transfigured into Art." Book World, 31 May 1970, p. 5. Gallant "brings to life things beyond analysis." Cassil concludes that it is "a very, very good novel."
D81 Rascoe, Judith. "This Side of Happy." The Christian Science Monitor, 4 June 1970, p. 7. "I can hardly praise it enough." Rascoe mentions Gallant's talent for "riveting detail," and describes her as a master of aphoristic phrases.
D82 Lehmann-Haupt, Christopher. "Books of The Times." The New York Times, 5 June 1970, p. 33. The "poignancy of the story" and Gallant's humour do not mix, and as a result the reader is denied a "richer understanding" of Shirley.
D83 Janeway, Elizabeth. Rev. of A Fairly Good Time. The New York Times Book Review, 7 June 1970, pp. 5, 34. Shirley, the novel's protagonist, is representative of a "world where the capacity for sympathy is a burden to its possessor, a deformity to others and, at the same time, represents the compassion we so desperately long for."
D84 Gill, Brendan. "A Lost Lady." Time [Canada], 8 June 1970, p. 62. A positive review devoted primarily to summarizing the story of A Fairly Good Time. Gill notes that the novel's heroine 'is kin to a long literary line of unworldly New World girls, starting with Daisy Miller, who have pitted their innocence against Old World ambiguities of Europe and pluckily gone under."
D85 Morse, J. M. Rev. of A Fairly Good Time. Hudson Review, 23, No. 2 (Summer 1970), 337. Morse describes the work as "a pleasant novel of manners" and mentions that Gallant exhibits the virtues of a good, old-fashioned novelist.
D86 Thomson, Peggy. "A Familiar Type: 'A Woman Adrift in Circumstances.'" The Washington Post, 27 June 1970, p. C4. "A very good novel -- low-keyed, light-textured, sparkling."
D87 Whitley, John. "Five-O'Clock Shadow." The Sunday Times [The Times] [London, Eng.], 12 July 1970, p. 27. The heroine of A Fairly Good Time "is the springboard for the most acutely accurate and bitingly witty description of life among the French since 'The Dud Avocado.'"
D88 Berridge, Elizabeth. "Recent Fiction." The Daily Telegraph [London, Eng.], 16 July 1970, p. 7. The novel demonstrates "The kind of humour that is poised between eccentricity and malice."
D89 Quigly, Isabel. "Vanishing Points." The Financial Times [London, Eng.], 16 July 1970, p. 24. Recalling comparisons of Gallant to Austen and Chekhov, Quigly points also to "Nabokov, whose free use of time and association, whose mingling of memory and sensation, whose rejection of the ordinary time sequence in favour of something far more fluid, she recalls."
D90 Shrapnel, Norman. "The Tyranny of Love." The Guardian [Manchester], 16 July 1970, p. 7. "The writing manages to be richly comic without caricature."
D91 Cole, Barry. "New Novels: Then and Now." The Spectator [London, Eng.], 18 July 1970, p. 47. Cole likens Gallant to Jane Austen.
D92 Coles, Don. "It's Panic Time in the Schizoid Haze." The Globe and Mail Magazine [The Globe and Mail], 18 July 1970, p. 17. Shirley "makes up her mind not to be happy" and not very surprisingly she isn't. The novel's success derives from the inner landscape it presents to the reader.
D93 Rev. of A Fairly Good Time. Chatelaine, Aug. 1970, p. 4. Commends Gallant's evocation of the exclusivity of French society.
D94 Gill, Brendan. "Holding On." The New Yorker, 19 Sept. 1970, pp. 132-33. Gill notes that although the tone of the novel is "unflaggingly comic" the reader is ultimately uninterested in the plight of the central character.
D95 Wright, Paul. Rev. of A Fairly Good Time. The Montreal Star, 26 Sept. 1970, p. 17. Wright suggests that the Canadian literary establishment ignores Gallant because her books do not subscribe to typical Canadian themes. He compares her to Jean Rhys, Margaret Drabble, and Elizabeth Spencer.
D96 Tench, Helen. Rev. of A Fairly Good Time. The Citizen [Ottawa], 19 Dec. 1970, p. 32. A favourable review which terms the novel a "mixture of some reality and a great deal of fantasy."
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Source: Grant, Judith Skelton (compiler); . Part 2: Works On Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 203-228 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP2.
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Record: 247- Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; Green Water, Green Sky
- Other Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Criticism & interpretation -- Bibliography
Titles critiqued: GREEN water, green sky (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 2: Works On Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 203-228)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP2
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Source: Part 2: Works On Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 203-228
Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; Green Water, Green Sky
Grant, Judith Skelton (compiler)
D74 Hill, Harriet. "More Than Meets the Eye." The Gazette [Montreal], 17 Oct. 1959, p. 22. Hill observes that by telling the story from four different points of view Gallant "seems to unwrap layer under layer of her characters as one takes off the coats of an onion."
D75 Pendergast, Constance."Love's Grim Reminders." Saturday Review, 17 Oct. 1959, p. 19. This is a "subtle, disturbing, beautifully written novel." Pendergast focuses on the destructive relationship between Flor and Bonnie and notes the various techniques used to convey their relation to the reader.
D76 Johnson, Sydney. "Four Gallant Studies." The Montreal Star, 24 Oct. 1959, p. 30. Johnson praises the novel for its clarity of vision and raises the question of the extent to which writing for The New Yorker has influenced Gallant's theme and style. Johnson compares her to Chekhov and Tennessee Williams.
D77 MacManus, P. "Menage a Trois." The New York Times Book Review, 1 Nov. 1959, p. 41. MacManus praises Gallant's technical skill, but suggests that the novel is lacking in emotional substance: "In a life-evocative sense. . . the ultimate effect is of images glimpsed in a mirror."
D78 Jennings, Elizabeth. "New Novels." The Listener, 18 Aug. 1960, p. 273. Personal relationships are Gallant's primary concern. The novel is lacking in modish smoothness and disguised sentimentality, the worst aspect of fiction in The New Yorker.
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Source: Grant, Judith Skelton (compiler); . Part 2: Works On Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 203-228 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP2.
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Record: 248- Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; Home Truths: Selected Canadian Stories
- Other Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Criticism & interpretation -- Bibliography
Titles critiqued: HOME truths: Selected Canadian stories (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 2: Works On Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 203-228)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 2: Works On Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 203-228
Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; Home Truths: Selected Canadian Stories
Grant, Judith Skelton (compiler)
D53 Grady, Wayne. "The Other Canada." Books in Canada, Oct. 1981, pp. 18-19. Grady finds anticipations of Linnet Muir in several stories in "At Home," the first section, of the remittance man figure in "Canadians Abroad," the middle section, and mastery in the concluding Linnet Muir stories where Linnet appears as a female Ulysses and her father as the ultimate remittance man.
D54 Stuewe, Paul. "Mavis Gallant's Evocative Portraits." Quill & Quire, Oct. 1981, p. 37. Although the volume seems "more of an effective marketing ploy than an intrinsically necessary book," it displays a wide range of techniques and can serve as a substitute in the absence of a collected edition of Gallant's stories. Stuewe praises her ability to link private and public realms.
D55 French, William. Rev. of Home Truths: Selected Canadian Stories. The Globe and Mail, 24 Oct. 1981, Sec. Entertainment, p. 17. French wishes that the date of first publication had been included "to provide signposts to Gallant's development." Nonetheless, "It's an enloyable collection by a marvellously accomplished writer, and it proves again that the question of where she chooses to live is irrelevant."
D56 Heward, Burt. "Expatriate Montrealer Relaxes in Nostalgic Canadian Stories." The Citizen [Ottawa], 24 Oct. 1981, p. 47. Heward focuses primarily on Gallant's Intro- duction to Home Truths: Selected Canadian Stories.
D57 Goddard, Peter. "Gallant's Home Truths Are Epiphanies, Frozen in Memory." Toronto Star, 31 Oct. 1981, p. F10. Goddard focuses initially on the Introduction to Home Truths: Selected Canadian Stories, and then observes of the stories that "The Home Truths here are not necessarily Canadian ones. They're epiphanies; growth and revelation frozen in the memory."
D58 Ross, James. "Marvellous Story Collection from Mavis Gallant." The Spectator [Hamilton, Ont.], 31 Oct. 1981, p. 50. Ross provides plot summaries of these "marvellous, subtle stories, of the first rank."
D59 Grosskurth, Phyllis. "Close to Home." Saturday Night, Nov. 1981, p. 68. Though Gallant "writes out of her roots," that is not what makes her distinctive. Her "particular power as a writer is the sureness with which she catches the ephemeral; it is a wry vision, a blend of the sad and the tragi-comic."
D60 Gauer, Stephen. "Gallant Soars, Ross Bores." Rev. of Home Truths: Selected Canadian Stories, by Mavis Gallant; and Always Tip the Dealer, by Garry Ross. Now [Toronto], 5 Nov. 1981, p. 18. Gauer particularly admires the Linnet Muir stories: "Gallant's writing has never been as powerful as it is in these stories."
D61 Abley, Mark. "Home Is Where Complacency Is." Maclean's, 9 Nov. 1981, pp. 74, 76, 78. Abley compares Gallant's talent as a writer of short fiction to Chekhov's. Both "press a lifetime into a few resonant pages"; both "show the dark side of comedy and the humor that lurks behind despair. Most of all, they share the capacity to make sympathy an objective, unsentimental attitude."
D62 Nykor, Lynda. "Canadian Life, Places Mirrored in Stories." The London Free Press, 14 Nov. 1981, p. B9. Nykor focuses on Canada's neglect of Gallant.
D63 Nadel, Ira. Rev. of Home Truths: Selected Canadian Stories. Review. CBC Radio, 24 Nov. 1981. "Home Truths re-asserts the claim that Mavis Gallant is one of Canada's finest prose wrtters."
D64 Crawley, Ennis. "Home Truths from Away." The Whig-Standard Magazine [Kingston], 28 Nov. 1981, p. 20. Crawley is fascinated by the interplay between Gallant's "explicit opinions" concerning Canada and things Canadian in the Introduction "with those stated or inferred by her characters in her stories."
D65 Stevens, Peter. "A Gallant Effort Indeed!". The Windsor Star, 28 Nov. 1981, Sec. The Book Page, p. F5. The collection will make Canadians at last take note of Gallant's work. Stevens notes that "... whether her central figures are away from home or not, they often seem to be exiles, refugees outside stable environments."
D66 Williamson, David. "Gallant's Short Stories Are Brilliant Gems." Winnipeg Free Press, 28 Nov. 1981, Sec. Leisure, p. 5. Gallant's special strength is "her remarkable ability to be comfortable writing about characters of any age and any nationality, male or female." Willlamson includes information on her work habits.
D67 Kilpatrick, Ken. "The Economy Is Falling but Books Still Popular." The Spectator [Hamilton, Ont.], 5 Dec. 1981, p. 48. A brief, enthusiastic assessment of Home Truths: Selected Canadian Stones.
D68 Barclay, Pat. "Gallant's Wondrous Tale-Telling." Times-Colonist [Victoria], 19 Dec. 1981, p. 43. The stories are marvellous: "None of the characters except Linnet Muir is especially memorable; the Gallant magic works instead through language, metaphor, ambiguity and sudden revelation."
D69 Barclay, Pat. "The 10 Best Books of 1980 [sin; 1981]." Peterborough Examiner, 26 Dec. 1981, n. pag. Barclay places Home Truths: Selected Canadian Stories third on her list of ten books.
D70 Atkinson, David W. Rev. of Home Truths: Selected Canadian Stories. The Lethbridge Herald, 6 Feb. 1982, p. C10. Gallant is a penetrating observer of the Cana- dian natinal sense of self; a writer with "few peers as a writer of short stories," whose wares must be savoured, not rushed.
D71 Drache, S. L. "Fine Short Stories Deal with Personal Independence." Glebe Report, 12 Feb. 1982, p. 20. "Gallant is at her best in the 'Linnet Muir' stories . . ., which are quintessentially Canadian."
D72 Dewar, Elaine. "Thoroughly Modern Orphans." City Woman (Spring 1982), pp. 23-26, 28, 30, 32. Gallant's Home Truths: Selected Canadian Stories (like recent novels by Margaret Atwood, Sondra Gotlieb, Doris Anderson, and Constance Beresford-Howe) is about "very modern women. . . locked in a struggle with the world, and at the same time, estranged from it."
D73 Grant, Judath Skelton. Rev. of Home Truths: Selected Canadian Stories. World Literature Written in English, 21 (Autumn 1982), 619-25. Grant sees Home Truths: Selected Canadian Stories as marking "a new stage in relations between Canada and Mavis Gallant." Grant explores memory and time in these stories, drawing on Gallant's notes accompanying the typescripts in The Thomas Fisher Rare Book Library at the University of Toronto. She conludes that "though not as powerful a totality as From the Fifteenth District," Home Truths contains some of her most vigorous writing.
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Source: Grant, Judith Skelton (compiler); . Part 2: Works On Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 203-228 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP2.
Item Number: ABCMA05MGP2000005002004006
Record: 249- Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; The Affair of Gabrielle Russier
- Other Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Criticism & interpretation -- Bibliography
Titles critiqued: AFFAIR of Gabrielle Russier (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 2: Works On Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 203-228)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP2
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Source: Part 2: Works On Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 203-228
Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected book reviews; The Affair of Gabrielle Russier
Grant, Judith Skelton (compiler)
D97 Levy, Barbara. Rev. of The Affair of Gabrielle Russier. Saturday Review, 25 Sept. 1971, p. 50. Gallant's introduction is "the most interesting" section of the book.
D98 Ardagh, John. "To Die for Being Loved." The Washington Post Book World, 26 Sept. 1971, p. 5. Raymond Jean's Preface and Mavis Gallant's introduction are particularly important. Gallant possesses "great psychological penetration" and understands France "to perfection."
D99 Crimmins, Margaret. "Woman, Boy... Scandal, Tragedy." The Washington Post, 30 Sept. 1971, pp. C1, C8. Gallant's outrage at the hypocrisy of French society and at the anti-woman bias of the French courts is generally well documented, though Gallant "at times lets her emotions take control of the facts."
D100 Janeway, Elizabeth. Rev. of The Affair of Gabrielle Russier. The New York Times Book Review, 3 Oct. 1971, pp. 4, 42. Janeway commends Gallant's account as being "brilliantly related."
D101 Gornick, Vivian. "On Trial for Acting like a Man." The Village Voice, 21 Oct. 1971, pp. 29, 37-38. Gallant's introduction "is nothing less than brilliant."
D102 Ascherson, Neal. "A Modern Instance." New York Review of Books, 4 Nov. 1971, p. 3. "The first part of this book is the long and excellent account of the case written for The New Yorker by Mavis Gallant. Its style is bleak and effective, and Miss Gallant, knowing France well, is able to make the complicated legal tragedy that followed comprehensible and to illustrate it with contrasts to other scandals and prosecutions."
D103 Greenstone, Maryann Dunitz. "The Scandal that Shocked France." The Sunday News [Detroit], 7 Nov. 1971, p. 5E. A long review which draws heavily on Gallant's "brilliant interpretive account."
D104 Broyard, Anatole. "A Truly French Tragicomedy." The New York Times, 1 Dec. 1971, p. 45. "Mavis Gallant's introduction gives a nicely balanced picture of the issues, the ironies and the facts."
D105 Haskell, Molly. Rev. of To Die of Love, a film by Andre Cayette. The Village Voice, 16 March 1972, p. 67. In this negative review of Andre Cayette's film about Gabrielle Russier, To Die of Love, Haskell argues persuasively that Gallant's piece on Russier "has more information and insight in one page than is contained in the entire film, and explains to American readers the special conditions in France which conspired against Gabrielle Russier."
D106 Harrington, Stephanie. "Did Daniele 'Die of Love?'". Rev. of To Die of Love, by Andre Cayette. The New York Times, 19 March 1972, Sec. 2, p. II. This negative review of Andre Cayette's French film, To Die of Love, based on Gabrielle Russier's life, uses Gallant's piece on Russier to reveal the film's failures.
D107 Mortimer, Edward. "Martyr to French Law." The Times [London, Eng.], 4 Jan. 1973, p. II. Mortimer commends Gallant's introduction as "a really outstanding combination of descriptive and interpretive journalism."
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Source: Grant, Judith Skelton (compiler); . Part 2: Works On Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 203-228 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP2.
Item Number: ABCMA05MGP2000005002004009
Record: 250- Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected play reviews; What Is to Be Done?
- Other Title:
- Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected play reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Grant, Judith Skelton (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: GALLANT, Mavis; GALLANT, Mavis -- Criticism & interpretation -- Bibliography
Titles critiqued: WHAT is to be done (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Grant, Judith Skelton (compiler) Part 2: Works On Mavis Gallant.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 203-228)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05MGP2
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Source: Part 2: Works On Mavis Gallant. Grant, Judith Skelton (compiler); Toronto, Ontario : ECW Press, 1984, pp. 203-228
Part 2 Works on Mavis Gallant; Selected book and play reviews; Selected play reviews; What Is to Be Done?
Grant, Judith Skelton (compiler)
D108 Corbell, Carole. "Gorgeous Performances in a Wry Play." The Globe and Mail, 12 Nov. 1982, p. E5. Gallant's effect, in both fiction and drama, is achieved through the accumulation of detail; the play "gains as well as loses from this approach." The director's fidelity to the text causes some staging difficulties.
D109 Mallet, Gina. "'What Is to Be Done?': A Treat at Tarragon." Toronto Star, 12 Nov. 1982, p. D1. Mallet compares the play to Edgar Lee Masters' Spoon River Anthology. Gallant's subtle style is not completely suited to the theatre: '... the lack of narrative here is damaging; it consistently diminishes the dramatic impact of What Is to Be Done?". There are scene changing problems.
D110 Czarnecki, Mark. "Daughters of Revolution." Maclean's, 22 Nov. 1982, p. 78.' The play is "ambitious, invigorating and blessed with a quirky rhythm which continually employs indirection to find direction out." The play is much too long and much of the second act is repetitive.
D111 Adilman, Sid. "What's to Be Done about Gallant's Hit." Toronto Star, 30 Nov. 1982, p. BI. Although the play is sold out for most of its run, the Tarragon Theatre is locked into a subscription series and, thus, cannot extend it.
D112. Knelman, Martin. "Coming Home: For Mavis Gallant." Saturday Night, Dec. 1982, pp. 69-70. This piece, which is based on a reading of the script rather than a viewing of the Tarragon production, regards the play as a homecoming of sorts. Knelman's discussion of the play itself is descriptive rather than analytical, but he does provide information as to the genesis of What Is to Be Done?.
D113 Kaplan, Jon. "Good Gallant." Now [Toronto], 2-8 Dec. 1982, p. 13. This script is "literate, full of interesting characters and evocative of emotion as well as ideas," but the play "finally leaves an unfinished feeling. The best scenes are like some of Gallant's short stories-- wryly humorous, full of nuances, often with an unsettling aftertaste."
D114 Neil, Boyd. "What Is to Be Done?". The Canadian Forum, Feb. 1983, pp. 39-40. This review, except for one or two minor reservations having to do with staging, is entirely favourable. Neil posits that the play is not "conventional," in that its structure is determined by thematic concerns rather than plot. He regards its theme as "an erratic, ironic, tenderhearted look at the souring of one vision of the future and the nurturing of another through nostalgia." The lead roles of Molly and Jenny are "among the best Canadian drama has to offer," and Neil compliments Margot Dionne and Donna Goodhand on their execution of these parts. The main body of the review is given over to a description of the play's action and an analysis of the central characters.
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Source: Grant, Judith Skelton (compiler); . Part 2: Works On Mavis Gallant, Toronto, Ontario : ECW Press, 1984. pp. 203-228 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05MGP2.
Item Number: ABCMA05MGP2000005002004010
Record: 251- Title:
- Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts; Audio material
- Other Title:
- Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 1: Works By Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 416-430)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP1
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Source: Part 1: Works By Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 416-430
Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts; Audio material
McComb, Bonnie Martyn (compiler)
A7 Hetty Dorval. Narr. Seymour Vineberg. Vancouver: Charles Crane Library, 1973. (I reel; 480 min.)
A8 Swamp Angel. Narr. Barbara Yeoell. Vancouver: Taped Book Project, 1974. (1 reel; 260 min.)
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Source: McComb, Bonnie Martyn (compiler); . Part 1: Works By Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 416-430 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP1.
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Record: 252- Title:
- Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts; Manuscripts
- Other Title:
- Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 1: Works By Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 416-430)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP1
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Source: Part 1: Works By Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 416-430
Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts; Manuscripts
McComb, Bonnie Martyn (compiler)
A9 The Ethel Wilson Collection
Special Collections Division
Main Library
University of British Columbia
Vancouver, B.C.
This is the major depository of Ethel Wilson's mss. and papers. The University of British Columbia holds the copyright to her papers. The outline of the contents here is condensed from a detailed inventory prepared by the Special Collections staff: Judy Combs did the first inventory, Craig Paterson revised this and completed the first addendum in 1977, and Susan Nichols did the second addendum in 1982. The first 2 boxes were donated by Wilson; the following 8 boxes were deposited by John Gray, a family friend and Wilson's literary agent and advisor; and the remaining 3 boxes from Wllson's estate were brought to the library after her death.
Box 1 : Unidentified casual postcard, mss. of "Lilly's Story," "Tuesday and Wednesday," and The Innocent Traveller.
Box 2: Mss. of Love and Salt Water, "The Corner of X and Y Street," "My Father's Teacher," "The Window," an unpublished poem entitled "Vienna, Spring, 1938," "Somewhere Near the Truth," "The Tool That Fits the Hand," "The Writer and the Public," "West Vancouver High School," "Crofton House Library," "Humanities Association," "Friends of Red Cross," an untitled and unpublished talk, and several titled but unpublished talks; guest books, recipe book, and several letters.
Box 3: Over 74 casual and personal letters from Claude Bissell, Mazo de la Roche, Louis Dudek, Margaret Laurence, Dorothy [MacNair] Livesay, Desmond Pacey, and A. J. M. Smith, and over 20 financial and business letters regarding translations, contracts, copyrights, film rights, dramatization rights, and submission requests.
Box 4: Mss. of Swamp Angel.
Box 5: Mss. of an unpublished novel called "The Vat and the Brew" and an incomplete ts. of Love and Salt Water.
Box 6: Mss. of published and unpublished short stories.
Box 7: Mss. of "A Visit to the Frontier" (2 copies), "The Window," "Words and Places," several story fragments and notes, and published and unpublished articles.
Box 8: Mss. of Wilson's review of Pauline Johnson's Legends of Vancouver, a fragment of a review on The Stone Angel, notes on some American novelists, notes on obscenity, and copies of printed fiction and nonfiction.
Box 9: Mss. and tss. of speeches and talks.
Box 10: Mss. of 8 untitled speeches and talks, clipped reviews of Wilson's 6 books, contracts, copyrights, and family photographs.
Box 11: Articles on Canadian literature that mention Wilson by Donald Stainsby, Morley Callaghan, Mordecai Richler, Cy Young, Dorothy Livesay, and Constance MacKay; clippings about juvenile delinquency; bank book from Capetown, 1888; transcript of John Gray's speech about Wilson at the Canada Council dinner; notebooks containing lengthy quotations and notes on Hamlet, Macbeth, and King Lear; 2 medical journals containing tributes to Dr. W. Wilson; Red Cross Handbook that Wilson edited; various articles and poems by others on which Wilson has written comments or corrections; menu and invitation to Canada Council dinner; lengthy comments on Swamp Angel by an editor from Macmillan; correspondence of Macmillan regarding Lorne Pierce Estate; and 54 pieces of correspondence by John Gray with various people regarding Wilson's books.
Box 12: Personal and casual correspondence; financial and business correspondence; unpublished mss., some with alternate roles: "Herself When Young" or "Miss Cuppy," "My F~rst African Circuit' or "Life and Work in the Orange Free State," and "Some Reminiscences of Life and Work in South Africa"; published mss.: "Young Vancouver Seen Through the Eyes of Youth" (3 copies); printed articles: "Part of a Talk by Ethel Wilson: Book Fair 1961," "Young Vancouver Seen Through the Eyes of Youth"; 10 pp. transcript of Ron Hambleton's interview with Ethel Wilson, "Experience of Life"; scrapbook containing reviews about Hetty Dorval; handwritten (Wilson's) excerpt about Wilson from an article by Robertson Davies; 2 printed articles about Wilson by P. M. Hinchcliffe.
Box 13: Printed article about Wilson by William New; a letter from William New; copyrights for Love and Salt Water; awards: Canadian Authors Association Award and life membership, Order of Canada, University of British Columbia "Litterarum Doctoris"; diary; file containing notes, notebook, and letters about Matthew Baillie Begbie; file about Leon Koerner; file about St. Mary the Virgin, Aldermanbury; 17 pieces mainly medical journals honourmg or mentioning Dr. Wilson; address book; small notebook entitled "Mrs. Wilson, letters sent."
Box 14: Family bible; collection of personal papers, poems (by Chaucer, Tessimond, Fitzsimmons, Carter, Chesterton, Coey, and Angelo), and sayings; miscellaneous: ballet program, University of New Brunswick graduation program, bookmark, Pushkin's Tale of the Golden Cockerel, proclamation providing for the government of British Columbia 1858, map of British possessions in North America c. 1940, Chinese painting, folder that held all Wilson's photographs; 60 photographs mainly of Wilson's family.
A10 The Macmillan Company (Canada) Papers
Special Collections Division
Main Library
University of British Columbia
This is a massive collection of correspondence relating to the publication of Wilson's books and a general file including letters and mss. written by Ethel Wilson that ranges from 1944-72. A detailed 15-page inventory by Anne Greenwood is available.
BOX I: Extensive correspondence about Hetty Dorval, The Innocent Traveller, and The Equations of Love that includes information about sales, publication, promotion, royalties, revisions, film rights, radio broadcast rights, serialization or condensation rights, translations, readers' reports, and jacket designs.
Box 2: Further correspondence about The Equations of Love, Lilly's Story, Love and Salt Water, and Mrs. Golightly; several pieces of correspondence about "The Vat and the Brew," an unpublished novel; copies of unpublished and published articles, short stories and speeches: "Admissions, Seabirds and People," "Book Fair 1961," "Fountains in Italy, 1882," "On Nimpish Lake," "A Prestige Car for a Young Executive," "Somewhere Near the Truth," speech to the Writers' Conference at the University of British Columbia; articles and newsclippings about Wilson; general and personal correspondence.
The Margaret and Geoffrey Andrew Papers
Special Collections Divison
Main Library
University of British Columbia
Geoffrey Andrew, a past Dean and Deputy President of the University of British Columbia, and his wife, Margaret, were close personal friends of Ethel Wilson during her later years. They donated this collection of letters in 1981. A detailed inventory by Laurenda Daniells that includes a description of the salutation, a quotation, a description of the closing signature, the date, and the number of pages for each letter is available.
Thirty-three original letters from Ethel Wilson to Margaret Andrew, n.d. [c. 1950-70], 2 original letters from Ethel Wilson to Margaret Andrew, n.d., and 3 original letters from Ethel Wilson to Geoffrey Andrew, n.d. Also included is 1 photocopied letter from Ethel Wilson to Mary McAlpine Dobbs.
A12 The Alan Crawley Papers
Special Collections Division
Main Library
University of British Columbia
This collection, purchased in 1983, contains 66 letters written by Ethel Wilson to Alan Crawley 1961-65. The letters total 369 pages. An inventory is not yet available.
A13 The Ron Hambleton Papers
Special Collections Division
Main Library
University of British Columbia
This collection was purchased from Ronald Hambleton in 1979. It contains 11 holographic letters from Wilson, 3 tapes of interviews for CBC between Ron Hambleton and Ethel Wilson (1955 and 1967), and 2 holographic mss. by Wilson--"At What Point Do I Grow Old?" (12 pp.) and "In Defense of a Little Learning" (15 pp.)--parts of which she uses in the CBC interviews.
A14 Mazo de la Roche Collection
Thomas Fisher Rare Book Library
University of Toronto
Toronto, Ontario
The de la Roche Collection contains 1 letter from Wilson to Ronald Hambleton, 11 July 1967 (1 leaf), and 14 letters from Wilson to de la Roche: [6] Jan. 1953 (2 leaves), 21 Feb. 1953 (3 leaves), 5 Nov. 1953 (2 leaves), 14 April 1955 (1 leaf), 7 June [1955?] (1 leaf), [7] June 1955 (1 leaf), 30 June 1955 (4 leaves), [19] Aug. 1955 (2 leaves), 20 Aug. 1955 (3 leaves), [27] Nov. 1955 (2 leaves), 13 April 1957 (2 leaves).
A15 A.J.M. Smith Papers
Thomas Fisher Rare Book Library
University of Toronto
Toronto, Ontario
The Smith Papers contain 4 letters from Wilson to Smith: 3 July 1947 (1 leaf), 19 July 1947 (2 leaves), 24 July 1947 (2 leaves), 24 July 1947 (2 leaves), 6 Nov. [1961?] (1 leaf).
A16 Anne Wilkinson Papers
Thomas Fisher Rare Book Library
University of Toronto
Toronto, Ontario
The Wilkinson Papers contain 1 letter from Wilson, 15 Nov. 1956 (2 leaves).
A17 The Mary White Papers
Special Collections Division
Main Library
University of British Columbia
Three letters from Mary White, Wilson's niece.
[underbar]
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Source: McComb, Bonnie Martyn (compiler); . Part 1: Works By Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 416-430 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP1.
Item Number: ABCMA05EWP1000005005001004
Record: 253- Title:
- Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts; Novels
- Other Title:
- Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 1: Works By Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 416-430)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP1
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Source: Part 1: Works By Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 416-430
Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts; Novels
McComb, Bonnie Martyn (compiler)
[underbar]
A1 Hetty Dorval. Toronto: Macmillan, 1947. 116 pp.
[underbar]. London: Macmillan, 1948. 117 pp.
[underbar]. Preface Ethel Wilson. Vancouver: Alcuin Society, 1967. II, 169 pp. Limited edition of 375 copies. Typographic design by Charles Morriss and llno-block engravings by Gus Rueter.
[underbar]. Laurentian Library, No. 6. Toronto: Macmillan, 1967. 92 pp.
A2 The Innocent Traveller. London: Macmillan, 1949. x, 276 pp.
[underbar]. Toronto: Macmillan, 1949. 276 pp.
[underbar]. New Canadian Library, No. 170.
Toronto: McClelland and Stewart, 1982. 277 pp.
A3 The Equations of Love: Tuesday and Wednesday [and] Lilly's Story. London: Macmillan, 1952. 280 pp.
[underbar]. Toronto: Macmillan, 1952. 280 pp.
Lilly: Roman. Trans. Anna Katharma Rehmann-Salten. Zurich: Pan Verlag, [1952]. 173 pp.
Lilly's Story. New York: Harper, 1953. 208 pp.
First printed as one of two stories in The Equations of Love: Tuesday and Wednesday [and] Lilly's Story.
Lilly. Trans. Poul E M. Pedersen. Copenhagen: Samlerens Forlag, [1954]. 159 pp.
First printed in English as one of two stories in The Equations of Love" Tuesday and Wednesday [and] Lilly's Story.
Equazioni d'amore. [Unica traduzione antorizzata di Raffaella Lotteri.] Milan: Aldo Martello, [1958]. 258 pp.
The Equations of Love: Tuesday and Wednesday and Lilly's Story. Laurentian Library, No. 19. Toronto: Macmillan, 1974. 280 pp.
A4 Swamp Angel. London: Macmillan, 1954. 215 pp.
[underbar]. New York: Harper, 1954. 215 pp. This edition contains two additional chapters and an additional paragraph at the end.
[underbar]. Toronto: Macmillan, 1954. 215 pp.
[underbar]. Introd. Desmond Pacey. New Canadian Library, No. 29. Toronto: McClelland and Stewart, 1962. 5, 157 pp.
[underbar]. Introd. David Stouck. New Canadian Library Classics, No. 29. Toronto: McClelland and Stewart, 1982. 6, 157 pp.
A5 Love and Salt Water. London: Macmillan, 1956. 202 pp.
[underbar]. Toronto: Macmillan, 1956. 202 pp.
[underbar]. New York: St. Martin's, 1957. 202 pp.
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Source: McComb, Bonnie Martyn (compiler); . Part 1: Works By Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 416-430 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP1.
Item Number: ABCMA05EWP1000005005001001
Record: 254- Title:
- Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts; Short stories
- Other Title:
- Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 1: Works By Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 416-430)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP1
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Part 1 Works by Ethel Wilson; Books (novels and short stories), audio material, and manuscripts; Short stories
McComb, Bonnie Martyn (compiler)
A6 Mrs. Golightly and Other Stories. Toronto: Macmillan, 1961. 209 pp.
[underbar]. London: Macmillan, 1962. 209 pp. Includes "Beware the Jabberwock, My Son . . . Beware the Jubjub Bird," "The Birds" (B101), "The Corner of X and Y Streets," "A Drink with Adolphus" (B107), "Fog," "From Flores," "God Help the Young Fishman," "Haply the Soul of My Grandmother" (B104), "Hurry, Hurry" (B90), "I Just Love Dogs," "Mrs. Golightly and the First Convention" (B98), "Mr. Sleepwalker," "On Nimpish Lake" (B91), "Till Death Us Do Part," "'To Keep the Memory of So Worthy a Friend'" (B103), "Truth and Mrs. Forrester," "We Have to Sit Opposite" (B92), and "The Window" (B105).
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Source: McComb, Bonnie Martyn (compiler); . Part 1: Works By Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 416-430 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP1.
Item Number: ABCMA05EWP1000005005001002
Record: 255- Title:
- Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material; Articles, essays, and reviews
- Other Title:
- Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 1: Works By Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 416-430)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP1
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Source: Part 1: Works By Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 416-430
Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material; Articles, essays, and reviews
McComb, Bonnie Martyn (compiler)
B133 "A Night in Lytton." Saturday Magazine [Vancouver Province], 19 Oct. 1940, p. 6.
B134 "This Was Miss Gordon's School in 1898." Vancouver Province, 5 Feb. 1948, p. 4.
B135 "From the Farthest West." Trinity Hall School Magazine [Southport, Eng.], 1951, pp. 29-30.
B136 "On a Portuguese Balcony." The Tamarack Review, No. 1 (Autumn 1956), pp. 7-17.
B137 "A Monologue to a Stranger." Community Arts Council of Vancouver B.C, Summer 1957, pp. 22-23.
B138 "An Address to the Students of the School of Architecture, U.B.C." Royal Architectural Institute of Canada Journal, 36 (April 1959), 130-33.
B139 "A Cat among the Falcons: Reflections on the Writer's Craft." Canadian Literature, No. 2 (Autumn 1959), pp. 10-19. Rpt. in Masks of Fiction: Canadian Critics on Canadian Prose. Ed. A. J. M. Smith. New Canadian Library Original, No. O2. Toronto: McClelland and Stewart, 1961, pp. 23-32.
B140 Letter. Prism, I, No. 2 (Winter 1959), 69.
B141 "The Bridge or the Stokehold?: Views of the Novelist's Art." Canadian Literature, No. 5 (Summer 1960), pp. 43-47. Rpt. In Canadian Novelists and the Novel. Ed. Douglas Daymond and Leslie Monkman. Ottawa: Borealis, 1981, pp. 204-07.
B142 "The Princess." Rev. of Legends of Vancouver, by Pauline Johnson. Canadian Literature, No. 9 (Summer 1961), pp. 60-61.
B143 "Book Fair 1961." Arts Counctl News, 13, No. 7 (April 1962), 2-3. Part of a talk given by Ethel Wilson.
B144 "Reflections in a Pool." Canadian Literature, No. 22 (Autumn 1964), pp. 29-33. Rpt. in The Canadian Novel in the Twentteth Century: Essays from Canadian literature. Ed. George Woodcock. New Canadian Library, No. 115. Toronto: McClelland and Stewart, 1975, pp. 67-71.
B145 "Series of Combination of Events & Where Is John Goodwin?". The Tamarack Review, No. 33 (Autumn 1964), pp. 3-9.
B146 "Of Alan Crawley." Canadian Literature, No. 19 (Winter 1964), pp. 33-42.
B147 Letter. British Columbia Medical Journal, 8 (1966), 277-78.
B148 "Young Vancouver Seen Through the Eyes of Youth." Centennial Issue [Habitat, 10, Nos. 3-6 (1967)], pp. 138-39.
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Source: McComb, Bonnie Martyn (compiler); . Part 1: Works By Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 416-430 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP1.
Item Number: ABCMA05EWP1000005005002003
Record: 256- Title:
- Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material; Audio material
- Other Title:
- Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 1: Works By Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 416-430)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP1
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Source: Part 1: Works By Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 416-430
Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material; Audio material
McComb, Bonnie Martyn (compiler)
B149 "Tuesday and Wednesday" [excerpt] and Love and Salt Water [excerpt]. Narr. Ethel Wilson. CBL; CJBC; CBC Wednesday Night, CBC-FM Radio; 26 Sept. 1956. (30 min.)
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Source: McComb, Bonnie Martyn (compiler); . Part 1: Works By Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 416-430 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP1.
Item Number: ABCMA05EWP1000005005002004
Record: 257- Title:
- Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material; Reprinted anthology contributions: A selection
- Other Title:
- Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 1: Works By Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 416-430)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP1
p. 427-429 (3 p.) - Links:
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Source: Part 1: Works By Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 416-430
Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material; Reprinted anthology contributions: A selection
McComb, Bonnie Martyn (compiler)
B110 "Miss Tritt" from "Tuesday and Wednesday" [excerpt]. In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. Toronto: Gage, 1955, pp. 283-90.
B111 "Mrs. Golightly and the First Convention." In Canadian Short Stories. Ed. Robert Weaver. Toronto: Oxford Univ. Press, 1960, pp. 64-81.
B112 "From Flores." In Ten for Wednesday Night. Ed. Robert Weaver. Toronto: McClelland and Stewart, 1962, pp. 45-55.
B113 "Fog." In Eighteen Stories. Ed. Malcolm Ross and John Stevens. Don Mills, Ont.: Dent, 1965, pp. 99-107.
B114 "I Just Love Dogs." In Modern Canadian Stories. Ed. Giose Rimanelli and Roberto Ruberto. Toronto: Ryerson, 1966, pp. 58-62.
B115 "From Flores." In A Century of Canadian Literature/ Un siecle de la litterature Canadienne. Ed. Gordon H. Green and Guy Sylvestre. Toronto: Ryerson, 1967, pp. 427-35.
B116 "Haply the Soul of My Grandmother." In Canadian Short Stories. 2nd ser. Ed. Robert Weaver. Toronto: Oxford Univ. Press, 1968, pp. 9-22.
B117 "Mr. Sleepwalker." In Canadian Winter's Tales. Ed. Norman Levine. Toronto: Macmillan, 1968, pp. 150-72.
B118 "On Nimpish Lake." In The Story-Makers: A Selection of Modern Short Stortes. Ed. Rudy Wiebe. Toronto: Macmillan, 1970, pp. 20-24.
B119 "Mrs. Golightly and the First Convention." In Great Canadian Short Stories: An Anthology. Ed. and introd. Alec Lucas. Laurel. New York: Dell, 1971, pp. 75-88.
Bl20 "A Visit to the Frontier." In Stories from Western Canada. Ed. Rudy Wiebe. Toronto: Macmillan, 1972, pp. 1-12.
B121 "Fog." In The Oxford Anthology of Canadian Literature. Ed. Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 518-24.
B122 "Wednesday." In Canadian Literature: Two Centuries in Prose. Ed. Brita Mickleburgh. Toronto: McClelland and Stewart, 1973, pp. 208-14. Adapted from ("Tuesday and Wednesday"). EL.
B123 "We Have to Sit Opposite." In Tigers of the Snow. Ed. James A. MacNeill and Glen A. Sorestad. Don Mills, Ont.: Thomas Nelson, 1973, pp. 142-51.
B124 "The Window." In The Evolution of Canadian Literature in English: 1945-1970. Ed. Paul Denham. Toronto: Holt, Rinehart and Winston, 1973, pp. 14-23.
B125 "A Drink with Adolphus." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 247-54.
B126 "Hurry, Hurry." In Selections from Major Canadian Writers: Poetry and Creative Prose in English. Ed. Desmond Pacey. Toronto: McGraw-Hill Ryerson, 1974, pp. 184-86.
B127 "The Innumerable Laughter." In The Canadian Expertence: A Brief Survey of English-Canadian Prose. Ed. A. J. M. Smith. Toronto: Gage, 1974, pp. 134-45.
B128 "Fog." In The Urban Experience. Ed. John Stevens. Toronto: Macmillan, 1975, pp. 77-85.
B129 "Mrs. Golightly and the First Convention." In Canadlan Humour and Satire. Ed. Theresa Ford. Toronto: Macmillan, 1976, pp. 42-56.
B130 "Tuesday and Wednesday" [excerpt]. In Women in Canadian Literature. Ed. M. G. Hesse. Ottawa: Borealis, 1976, pp. 59-66.
B131 "The Window." In The Best Modern Canadian Short Stories. Ed. Ivon Owen and Morris Wolfe. Edmonton: Hurtlg, 1978, pp. 39-49.
B132 "The Window." In Transitions 11. Short Fiction. Ed. Edward Peck. Vancouver: CommCept, 1978, pp. 189-200.
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Source: McComb, Bonnie Martyn (compiler); . Part 1: Works By Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 416-430 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP1.
Item Number: ABCMA05EWP1000005005002002
Record: 258- Title:
- Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material; Short stories
- Other Title:
- Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 1: Works By Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 416-430)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP1
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Source: Part 1: Works By Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 416-430
Part 1 Works by Ethel Wilson; Contributions to periodicals and books (short stories, reprinted anthology contributions: A selection, and articles, essays, and reviews) and audio material; Short stories
McComb, Bonnie Martyn (compiler)
Note: When an item is reprinted in one of Wilson's books, this fact is noted in the entry through one of the following abbreviations:
The Equations of Love: Tuesday and
Wednesday [and] Lilly's Story ...... EL
Hetty Dorval ........... HD
The Innocent Traveller ............. IT
Love and Salt Water ............ LSW
Mrs. Golightly and Other Stories . . MGOS
Swamp Angel ................ SA
B1 "The Surprising Adventures of Peter." Vancouver Province, 1 March 1919, p. 6. Signed: E. D. B. This serialized children's story appeared daily on the upper right hand corner of page six as an advertisement for Malkin's Best. Each of the 87 stories ranges from 200 to 300 words and is topped by a pen-and-ink illustration. The introduction to the series occurs on 1 March 1919 and the explanation for the termination occurs on 13 June 1919.
B2 "The Surprising Adventures of Peter: Just About Peter." Vancouver Province, 3 March 1919, p. 6. Signed: E. D. B.
B3 "The Surprising Adventures of Peter: What Peter Found." Vancouver Province, 4 March 1919, p. 6. Signed: E.D.B.
B4 "The Surprising Adventures of Peter: The Treasure Box." Vancouver Province, 5 March 1919, p. 6. Signed: E. D. B.
B5 "The Surprising Adventures of Peter: The Strange Visitor." Vancouver Province, 6 March 1919, p. 6. Signed: E. D. B.
B6 "The Surprising Adventures of Peter: Please Sir, Who Are You?". Vancouver Provmce, 7 March 1919, p. 6. Signed: E. D. B.
B7 "The Surprising Adventures of Peter: The Two Explorers." Vancouver Province, 10 March 1919, p. 6.
B8 "The Surprising Adventures of Peter: The Robber Band." Vancouver Province, 10 March 1919, p. 6. Signed: E. D. B.
B9 "The Surprising Adventures of Peter: The Robber Band." Vancouver Province, 11 March 1919, p. 6. Signed: E. D. B.
B10 "The Surprising Adventures of Peter: The Fight." Vancouver Province, 12 March 1919, p. 6. Signed: E. D. B.
B11 "The Surprising Adventures of Peter: The Box." Vancouver Province, 13 March 1919, p. 6. Signed: E. D. B.
B12 "The Surprising Adventures of Peter: Early to Bed." Vancouver Province, 14 March 1919, p. 6. Signed: E. D. B.
B13 "The Surprising Adventures of Peter: Sir Richard Continues." Vancouver Province, 15 March 1919, p. 6. Signed: E. D. B.
B14 "The Surprising Adventures of Peter: The Unfriendly Tibetans." Vancouver Province, 17 March 1919, p. 6. Signed: E. D. B.
B15 "The Surprising Adventures of Peter: Saved by Shaving." Vancouver Province, 18 March 1919, p. 6. Signed: E. D. B.
B16 "The Surprising Adventures of Peter: Travellers Meet a New Peril." Vancouver Province, 29 March 1919, p. 6. Signed: E. D. B.
B17 "The Surprising Adventures of Peter: The City of Plague." Vancouver Province, 20 March 1919, p. 6. Signed: E. D. B.
B18 "The Surprising Adventures of Peter: The Day's Work." Vancouver Province, 21 March 1919, p. 6. Signed: E. D. B.
B19 "The Surprising Adventures of Peter: Here Comes the Prince." Vancouver Province, 22 March 1919, p. 6. Signed: E. D. B.
B20 "The Surprising Adventures of Peter: The Prince's Guests." Vancouver Province, 24 March 1919, p. 6. Signed: E. D. B.
B21 "The Surprising Adventures of Peter: The Grateful Prince." Vancouver Province, 25 March 1919, p. 6. Signed: E. D. B.
B22 "The Surprising Adventures of Peter: Tea -- the Precious Herb." Vancouver Province, 26 March 1919, p. 6. Signed: E. D. B.
B23 "The Surprising Adventures of Peter: On the Value and Comfort of Tea." Vancouver Province, 27 March 1919, p. 6. Signed: E. D. B.
B24 "The Surprising Adventures of Peter: The Travellers Leave the Prince." Vancouver Province, 28 March 1919, p. 6. Signed: E. D. B.
B25 "The Surprising Adventures of Peter: The Precious Gift." Vancouver Province, 29 March 1919, p. 6. Signed: E. D. B.
B26 "The Surprising Adventures of Peter: The Travellers Set Sail." Vancouver Province, 31 March 1919, p. 6. Signed: E. D. B.
B27 "The Surprising Adventures of Peter: At Sea." Vancouver Province, 2 April 1919, p. 6. Signed: E. D. B.
B28 "The Surprising Adventures of Peter: Poor Robin a Sufferer." Vancouver Province, 2 April 1919, p. 6. Signed: E. D. B.
B29 "The Surprising Adventures of Peter: The Storm." Vancouver Province, 3 April 1919, p. 6. Signed: E. D. B.
B30 "The Surprising Adventures of Peter: The Fight in the Dark." Vancouver Province, 4 April 1919, p. 6. Signed: E.D B.
B31 "The Surprising Adventures of Peter: Keep the Box, Peter." Vancouver Province, 5 April 1929, p. 6. Signed: E. D. B.
B32 "The Surprising Adventures of Peter: No Eggs--What Shall I Do?". Vancouver Province, 7 April 1919, p. 6. Signed: E. D. B.
B33 "The Surprising Adventures of Peter: Sir Rlchard's Narrow Escape." Vancouver Province, 8 April 1919, p. 6. Signed: E. D. B.
B34 "The Surprising Adventures of Peter: The Queen Drinks Tea." Vancouver Province, 9 April 1929, p. 6. Signed: E. D. B.
B35 "The Surprising Adventures of Peter: Goodby Sir Richard." Vancouver Province, 10 April 1919, p. 6. Signed: E. D. B.
B36 "The Surprising Adventures of Peter: Grandfather's Story." Vancouver Province, 11 April 1919, p. 6. Signed: E. D. B.
B37 "The Surprising Adventures of Peter: The Shopping Expedition." Vancouver Province, 12 April 1929, p. 6. Signed: E. D. B.
B38 "The Surprising Adventures of Peter: At the Store." Vancouver Province, 14 April 1919, p. 6. Signed: E. D. B.
B39 "The Surprising Adventures of Peter: Chum into Mischief." Vancouver Province, 25 April 1929, p. 6. Signed: E. D. B.
B40 "The Surprising Adventures of Peter: Chum in Trouble Again." Vancouver Province, 16 April 1919, p. 6. Signed: E. D. B.
B41 "The Surprising Adventures of Peter: Another Surprise." Vancouver Province, 27 April 1919, p. 6. Signed: E. D. B.
B42 "The Surprising Adventures of Peter: A Queer Little Visitor." Vancouver Province, 28 April 1929, p. 6. Signed: E. D. B.
B43 "The Surprising Adventures of Peter: Something in the Water." Vancouver Province, 29 April 1929, p. 6. Signed: E. D. B.
B44 "The Surprising Adventures of Peter: What Can It Be?". Vancouver Provmce, 22 April 1929, p. 6. Signed: E. D. B.
B45 "The Surprising Adventures of Peter: The Message." Vancouver Province, 22 April 1919, p. 6. Signed: E. D. B.
B46 "The Surprising Adventures of Peter: Where's The Tallest Tree?". Vancouver Province, 23 April 1919, p. 6. Signed: E. D. B.
B47 "The Surprising Adventures of Peter: Peter on the Track." Vancouver Province, 24 April 1929, p. 6. Signed: E. D. B.
B48 "The Surprising Adventures of Peter: Climbing for Treasure." Vancouver Province, 25 April 1919, p. 6. Signed: E. D. B.
B49 "The Surprising Adventures of Peter: What Peter Found." Vancouver Province, 26 April 1929, p. 6. Signed: E. D. B.
B50 "The Surprising Adventures of Peter: The Goblin Again." Vancouver Province, 28 April 1919, p. 6. Rpt. in Vancouver Province, 29 Aprd 1929, p. 6. Signed: E. D. B.
B51 "The Surprising Adventures of Peter: Invisible Peter." Vancouver Province, 30 April 1919, p. 6. Signed: E. D. B.
B52 "The Surprising Adventures of Peter: The Unhappy Goblin." Vancouver Proince, 1 May 1919, p. 6. Signed: E. D. B.
B53 "The Surprising Adventures of Peter: The Goblin Makes a Suggestion." Vancouver Province, 2 May 1919, p. 6. Signed: E. D. B.
B54 "The Surprising Adventures of Peter: The Goblin Is a Tempter." Vancouver Province, 3 May 1919, p. 6. Signed: E. D. B.
B55 "The Surprising Adventures of Peter: The Trial Trip." Vancouver Province, 5 May 1919, p. 6. Signed: E. D. B.
B56 "The Surprising Adventures of Peter: Now We're Off." Vancouver Province, 6 May 1919, p. 6. Signed: E. D. B.
B57 "The Surprising Adventures of Peter: In Mexico." Vancouver Province, 7 May 1919, p. 6. Signed: E. D. B.
B58 "The Surprising Adventures of Peter: What the Goblin Showed Peter." Vancouver Province, 8 May 1919, p. 6. Signed: E. D. B.
B59 "The Surprising Adventures of Peter: The Four and Twenty Bakers." Vancouver Prownce, 9 May 1919, p. 6. Signed: E. D. B.
B60 "The Surprising Adventures of Peter: The Little Princess." Vancouver Province, 10 May 1919, p. 6. Signed: E. D. B.
B61 "The Surprising Adventures of Peter: Peter and the Bakers." Vancouver Province, 12 May 1919, p. 6. Signed: E. D. B.
B62 "The Surprising Adventures of Peter: In the Palace." Vancouver Province, 13 May 1919, p. 6. Signed: E. D. B.
B63 "The Surprising Adventures of Peter: The Weeping Princess." Vancouver Province, 14 May 1919, p. 6. Signed: E. D. B.
B64 "The Surprising Adventures of Peter: The Princess and Peter." Vancouver Province, 15 May 1919, p. 6. Signed: E. D. B.
B65 "The Surprising Adventures of Peter: Peter to the Rescue." Vancouver Province, 16 May 1919, p. 6. Signed: E. D. B.
B66 "The Surprising Adventures of Peter: A Message for Peter." Vancouver Province, 17 May 1919, p. 6. Signed: E. D. B.
B67 "The Surprising Adventures of Peter: Peter Finds Another Friend." Vancouver Province, 19 May 1919, p. 6. Signed: E. D. B.
B68 "The Surprising Adventures of Peter: The Little Cingalese." Vancouver Province, 20 May 1919, p. 6. Signed: E. D. B.
B69 "The Surprising Adventures of Peter: The Grateful Baker." Vancouver Province, 21 May 1919, p. 6. Signed: E. D. B.
B70 "The Surprising Adventures of Peter: Peter and the Chief Baker." Vancouver Provmce, 22 May 1919, p. 6. Signed: E. D. B.
B71 "The Surprising Adventures of Peter: The Chief Baker's Story." Vancouver Provmce, 23 May 1919, p. 6. Signed: E. D. B.
B72 "The Surprising Adventures of Peter: The Story of the Clove." Vancouver Province, 24 May 1919, p. 6. Signed: E. D. B.
B73 "The Surprising Adventures of Peter: A Dainty Feast." Vancouver Province, 26 May 1919, p. 6. Signed: E. D. B.
B74 "The Surprising Adventures of Peter: Two in One." Vancouver Province, 27 May 1919, p. 6. Signed: E. D. B.
B75 "The Surprising Adventures of Peter: Chum." Vancouver Province, 28 May 1919, p. 6. Signed: E. D. B.
B76 "The Surprising Adventures of Peter: Back to Persia." Vancouver Province, 29 May 1919, p. 6. Signed: E. D. B.
B77 "The Surprising Adventures of Peter: The Smallest Baker Speaks." Vancouver Province, 31 May 1919, p. 6. Rpt. in Vancouver Province, 2 June 1919, p. 6. Signed: E. D. B.
B78 "The Surprising Adventures of Peter: Someone Takes a Tumble." Vancouver Province, 3 June 1919, p. 6. Signed: E. D. B.
B79 "The Surprising Adventures of Peter: The Sad State of the Smallest Baker." Vancouver Province, 4 June 1919, p. 6. Signed: E. D. B.
B80 "The Surprising Adventures of Peter: The Four Fountains." Vancouver Province, 5 June 1919, p. 6. Signed: E. D. B.
B81 "The Surprising Adventures of Peter: Peter's Choice." Vancouver Province, 6 June 1919, p. 6. Signed: E. D. B.
B82 "The Surprising Adventures of Peter: At The Party." Vancouver Province, 7 June 1919, p. 6. Signed: E. D. B.
B83 "The Surprising Adventures of Peter: The Escape." Vancouver Province, 9 June 1919, p. 6. Signed: E. D. B.
B84 "The Surprising Adventures of Peter: Grandfather's News." Vancouver Province, 10 June 1919, p. 6. Signed: E. D. B.
B85 "The Surprising Adventures of Peter: Changes for Peter." Vancouver Province, 11 June 1919, p. 6. Signed: E. D. B.
B86 "The Surprising Adventures of Peter: Goodbye, Peter." Vancouver Province, 12 June 1919, p. 6. Signed: E. D. B.
B87 "The Surprising Adventures of Peter: Peter's Farewell." Vancouver Province, 13 June 1919, p. 6. Signed: E. D. B.
B88 "I Just Love Dogs." New Statesman and Nation, 4 Dec. 1937, pp. 929-30. MGOS.
B89 " 'I Have a Father in the Promised Land.' " New Statesman and Nation, 4 Feb. 1939, pp. 167-69. IT (expanded--Ch. xii: " 'I Have a Father in the Promised Land'").
B90 "Hurry, Hurry." New Statesman and Nation, 25 Nov. 1939, pp. 754-55. MGOS.
B91 "On Nimpish Lake." The Canadian Forum, July 1942, pp. 119-20. Rpt. in Echoes: The Official Publication of the Imperial Order of the Daughters of the Empire, Spring 1945, p. 7. MGOS.
B92 "We Have to Sit Opposite." Chatelaine, May 1945, pp. 15, 46-47. MGOS.
B93 "The Cigar and the Poor Young Girl." Echoes: The Official Publication of the Imperial Order of the Daughters of the Empire, Autumn 1945, pp. 11, 46.
B94 "The Innumerable Laughter." In Orion. Ed. Denys Kilham Roberts. London: Nlcholson & Watson, 4 (Autumn 1947), 121-30. IT (Ch. Xvii: "The Innumerable Laughter").
B95 "Down at English Bay." here and now, 1, No. 2 (May 1948), 7-12. IT (Ch. xiv: "Down at English Bay").
B96 "The Funeral Home." Northern Review, 4 (April-May 1951), 12-15. EL (expanded- Ch. iv: "Tuesday and Wednesday").
B97 "Miss Tritt." Northern Review, 5 (Oct.-Nov. 1951), 11-19. EL (expanded --- Ch. viii: "Tuesday and Wednesday").
B98 "Mrs. Golightly and the First Convention." In Canadian Short Stortes. Ed. Robert Weaver and Helen James. Toronto: Oxford Univ. Press, 1952, pp. 151-64. MGOS.
B99 "The Escape." Northern Review, 6 (June-July 1953), 2-7. SA (Ch. iii).
B100 "Lilly's Story." B.C. Magazine [Vancouver Province], 31 Oct. 1953, pp. 1-12. EL.
B101 "The Birds." Northern Review, 7 (Oct.-Nov. 1954), 24-27. MGOS.
B102 "Swamp Angel" [excerpt]. Queen's Quarterly, 60 (Winter 1954), 526-31. SA (expanded).
B103 "'To Keep the Memory of So Worthy a Friend.'" The Reporter [New York], 13 Dec. 1956, pp. 35-36. MGOS.
B104 "Haply the Soul of My Grandmother." In British Columbia: A Centennial Anthology. Ed. R. E. Watters. Toronto: McClelland and Stewart, 1958, pp. 560-70. MGOS.
B105 "The Window." The Tamarack Review, No. 8 (Summer 1958), pp. 3-16. MGOS.
B106 "My Father's Teacher." The Montrealer, July 1958, pp. 27-28.
B107 "A Drink with Adolphus." The Tamarack Rewew, No. 16 (Summer 1960), pp. 5-16. MGOS.
B108 "Simple Translation." Saturday Night, 23 Dec. 1961, p. 19. Rpt. (abridged--"Journey to a Fair Land") in Reader's Digest, April 1962, pp. 143-44.
B109 "A Visit to the Frontier." The Tamarack Review, No. 33 (Autumn 1964), pp. 55-65.
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Source: McComb, Bonnie Martyn (compiler); . Part 1: Works By Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 416-430 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP1.
Item Number: ABCMA05EWP1000005005002001
Record: 259- Title:
- Part 1 Works By Margaret Avison: Books; Biography
- Other Title:
- Part 1: Works By Margaret Avison: Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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Part 1 Works By Margaret Avison: Books; Biography
Mansbridge, Francis (compiler)
A10 Willinsky, A. J. A Doctor's Memoirs. Toronto: Macmillan, 1960.
A foreword states that Avison acted as Willinsky's "amanuensis." She "helped to bring his materials into final order."
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
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Record: 260- Title:
- Part 1 Works By Margaret Avison: Books; Broadside
- Other Title:
- Part 1: Works By Margaret Avison: Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
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- Bibliography
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- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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A11 Factoring. Thornhill, Ont.: Village, 1959. 1 leaf.
Designed and printed by Gus Rueter.
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
Item Number: ABCMA06MAP1000006001001006
Record: 261- Title:
- Part 1 Works By Margaret Avison: Books; Compilation
- Other Title:
- Part 1: Works By Margaret Avison: Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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Part 1 Works By Margaret Avison: Books; Compilation
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A7 Books About Russia. Toronto: Canadian Institute of International Affairs, 1943. 19 pp.
An annotated bibliography, mainly 1940-43.
A8 The Research Compendium: Reviews and Abstracts of Graduate Research 1942-1962. Toronto: Univ. of Toronto Press, 1964. 265 pp.
Published in celebration of the fiftieth anniversary of the School of Social Work at the University of Toronto, this book includes introductory essays by Margaret Avison and Albert Rose, and abstracts by Avison of all theses accepted by the University of Toronto School of Social Work from 1942 to 1962.
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
Item Number: ABCMA06MAP1000006001001003
Record: 262- Title:
- Part 1 Works By Margaret Avison: Books; Criticism
- Other Title:
- Part 1: Works By Margaret Avison: Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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A12 "The Style of Byron's Don Juan in Relation to the Newspapers of His Day." M.A. Thesis Toronto 1964.
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
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Record: 263- Title:
- Part 1 Works By Margaret Avison: Books; History
- Other Title:
- Part 1: Works By Margaret Avison: Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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A6 History of Ontario. Illus. Selwyn Dewdney. Toronto: Gage, 1951. 138 pp.
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
Item Number: ABCMA06MAP1000006001001002
Record: 264- Title:
- Part 1 Works By Margaret Avison: Books; Manuscripts
- Other Title:
- Part 1: Works By Margaret Avison: Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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A13 Canadian Miscellany
McLennan Library
McGill University
Montreal, Quebec
The McLennan Library holds rough and fair copies of "The Fallen, Fallen World" from Winter Sun.
A14 Manuscript Collection
Thomas Fisher Rare Book Library
University of Toronto
Toronto, Ontario
This collection holds the ms. of an unpublished poem by Avison entitled "For Professor Endicott: an address," dated 16 April 1968, a letter from Gertrude Stein, written 23 June 1945 (1 leaf), and a letter from e. e. cummings, written 16 April 1950 (1 leaf).
A15 The Cid Corman Collection
Archives and Special Collections
Harriet Irving Library
University of New Brunswick
Fredericton, New Brunswick
The Archives and Special Collections Section has 5 letters from Avison to Cid Corman, written 26 June 1953 (2 leaves), 27 July 1953 (1 leaf), 18 Aug. 1953 (1 leaf), 13 Oct. 1953 (1 leaf), and 1 Dec. 1953 (1 leaf).
A16 Earle Birney Collection
Thomas Fisher Rare Book Library
University of Toronto
Toronto, Ontario
The collection contains 2 letters from Earle Birney to Avison, written 15 March 1950 (1 leaf) and 12 April 1950 (1 leaf); and 2 letters from Avison to Birney, written 2 April 1950 (1 leaf)and 7 Feb. 1951 (1 leaf).
A17 The Alan Crawley Papers
Queen's University Archives
Queen's University
Kingston, Ontario
The collection contains a letter from Avison to Alan Crawley, written 14 June 1952 (3 leaves).
A18 Lilly Library
University of Indiana
Bloomington, Indiana
The collection contains a letter from Avison to Henry Rago (then editor of Poetry [Chicago]), written 30 Dec. 1963, and proofs of Winter Sun.
A19 Margaret Avison
17 Lascelles Boulevard
Apartment 108
Toronto, Ontario
Most of Avison's manuscripts are in her possession. Since they are uncatalogued, no short list follows.
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
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Record: 265- Title:
- Part 1 Works By Margaret Avison: Books; Poetry
- Other Title:
- Part 1: Works By Margaret Avison: Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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Part 1 Works By Margaret Avison: Books; Poetry
Mansbridge, Francis (compiler)
[underbar]
A1 Winter Sun. London: Routledge and Kegan Paul, 1959. 98 pp.
[underbar]Toronto: Univ. of Toronto Press, 1960. 98 pp.
Includes "The Agnes Cleves Papers" (B38), "All Fools' Eve" (B39), "The Apex Animal" (B33), "Apocalyptic?", "Apocalyptics," "The Artist," "Atlantis and the Department Store," "Banff" (B7), "Birth Day," "Butterfly Bones; or, a Sonnet Against Sonnets," "Chronic," "Civility a Bogey; or, Two Centuries of Canadian Cities" (B47), "A Conversation," "Death," "Dispersed Titles," "Easter," "Extra-Political: The Thorned Speaks (While Day Horses Afar)," "The Fallen, Fallen World," "Far off from University" (B45), "A Friend's Friend," "From a Provincial" (B34), "Grammarian on a Lakefront Park Bench," "Hiatus" (B32), "Identity," "Intra-Political: An Exercise in Political Astronomy," "Jael's Part," "Jonathon, O Jonathon," "Meeting together of Poles and Latitudes (In Prospect)" (B42), "The Mirrored Man," "Mordent for a Melody," "New Year's Poem" (B36), "Not the Sweet Cicely of Gerardes Herball (i.e. Oriental Myrrh, not English Myrrh)," "November 23," "On the Death of France Darte Scott (Upon the Birth of Twin Sons Who Later Died)," "Our Working Day may be Menaced," "Prelude" (B46), "Public Address," "R.I.P.," "Rich Boy's Birthday through a Window" (B40), "Rigor Viris" (B20), "Rondeau Redouble," "September Street," "Snow" (B43), "Span," "Stray Dog, near Ecully" (B41), "The Swimmer's Moment," "Tennis" (B44), "Thaw," "To Professor X, Year Y," "Unbroken Lineage," "Unfinished After-Portrait (or: Stages of Mourning)," "Voluptuaries and Others" (B37), "Watershed," and "The World Still Needs."
A2 The Dumbfounding. New York: Norton, 1966. 99 pp.
Includes "The Absorbed," "And Around," "The Artist" (A1)" "Bestialities" (B75), "BlackWhite Under Green: May 18, 1965," "Branches," "Canadian/Inverted," "A Child: Marginalia on an Epigraph (Mt. 18:3; Lk. 9:48)," "The Christian's Year in Miniature," "Christmas: Anticipation," "Controversy," "The Dumbfounding" (B71), "The Earth That Falls Away" (B76), "First," "Five Breaks" (B74), "For Dr. and Mrs. Dresser," "For Tinkers Who Travel on Foot" (B53), "From a Provincial" (B34), "Hot June" (B65), "In a Season of Unemployment" (B54), "In Eporphyrial Harness" (B68), "In Time" (B55), "In Truth," "Janitor Working on Threshold," "July Man," "Lonely Lover," "Many As Two," "Meeting Together of Poles and Latitudes (in Prospect)" (B42), "Micro-Metro," "Miniature Biography of One of My Father's Friends Who Died a Generation Ago," "The Mourner," "A Nameless One" (B72), "Natural/Unnatural" (B57), "Of Tyranny, in One Breath: (translated from a Hungarian poem by Gyula Illyes, 1956)," "Old...Young...," "Once," "Pace," "Person," "...Person, or A Hymn on and to the Holy Ghost," "A Prayer Answered by Prayer," "Ps. 19," "Report from the Pedestrians' Outpost" (B58), "Riding and Waves" (B64), "A Sad Song," "Searching and Sounding," "Simon: finis" (B69), "The Store Seeds" (B70), "A Story," "The Swimmer's Moment" (A1), "Thaw" (A1), "Transit" (B61), "Twilight" (B51), "Two Mayday Selves," "The Two Selves," "Unspeakable" (B78), "Until Silenced: To I. A.," "Urban Tree," "Walking Behind, en Route, in Morning, in December," "The Word," and "Words."
A3 Sliverick. Ganglia Mini Memo Series, No. 23. Toronto: Ganglia, 1969. 4 pp.
Includes "Sliverick" (B90).
A4 sunblue. Hantsport, N.S.: Lancelot, 1978. 105 pp.
Includes "Absolute," "All Out; OR Oblation (as defined in 2 Sam. 23, 13-17 & I Chron. II, 17-19)" (B82), "As a Comment on Romans 1:10--," "As Though," "Backing into Being" (B100), "Bereaved," "The Bible to Be Believed" (B89), "A Blurt on Gray," "Christmas Approaches, Highway 401," "Christmas: Becoming," "The Circuit (Phil. 2, 5-11)," "City Park in July," "Contemplatives; OR, Internal Combustion," "Contest," "Creative Hour," "Dryness and Scorch of Ahab's Evil Rule," "The Effortless Point," "Embattled Deliverance" (B101), "Embezzler (I): His Act (Luke 16)," "Embezzler (II): A Classic Case?", "Embezzler (III): '...wiser than the children of light'?", "Embezzler (IV): The Wastrel Begins to Hope," "Emmanuel," "The Engineer and the Asparagus," "The Evader's Meditation," "For the Murderous: The Beginning of Time," "From a Public Library Window," "From Age to Age: Found Poem," "Grass Roots," "He Couldn't Be Safe (Isaiah 53:5)" (B84), "Hid Life," "Highway in April," "Hope," "Intercession," "Into the Vineyard: A Vision," "Kahoutek," "A Lament," "Let Be," "Light (I)" (B95), "Light (II)" (B97), "Light (III)," "Listening," "March" (B102), "March Morning" (B98), "Midsummer Christmas" (B94), "Morning Bus," "Needy," "Neighbours?", "On?", "On Goodbye," "Oughtiness Ousted," "Poem on the Astronauts in Apollo XIII's Near-Disaster Written April 17-18 1970, for the newspaper" (B91), "Ps. 80:1-'Thou that dwellest between the cherubim, shine forth!'", "Released Flow," "Research," "Scarface," "Sestina (1964)," "The Seven Birds (College Street at Bathurst): SKETCH," "SKETCH: A Childhood Place," "SKETCH: A Work Gang on Sherbourne and Queen, across from a Free Hostel for Men," "SKETCH: Cement Worker on a Hot Day," "SKETCH: Child in Subway," "SKETCH: CNR London to Toronto," "SKETCH: End of a Day: OR, I as a Blurry," "SKETCH: From a Train Window (Leamington to Windsor) in March," "SKETCH: Overcast Monday," "SKETCH: Thaws," "SKETCH: Weekend," "Slow Advent" (B85), "Sounds Carry" (B103), "Speleologist" (B104), "Stone's Secret," "Strong Yellow, for Reading Aloud," "Technology is Spreading," "Then," "Thirst" (B105), "To a Pioneer in Canadian Studies; And to all in Such Pedantry," "To Emmaus," "To not know when it is the worst is worst," "Transients," "Until Christmas," "Us Artists--Before Public Was, or Grants; OR, Can Litter," "Waking and Sleeping: Christmas," "Water and Worship: An Open-Air Service on the Gatineau River," "We are not poor, not Rich," "We the Poor who are Always with us" (B99), "'While as yet no leaves may fall,'" "Wonder: A Street-car Sketch," and "A Work-Up."
A5 Winter Sun/The Dumbfounding: Poems 1940-66. Modern Canadian Poets. Toronto: McClelland and Stewart, 1982. 191 pp.
Includes "The Absorbed" (A2), "The Agnes Cleves Papers" (B38), "All-Fools' Eve" (B39), "And Around" (A2), "The Apex Animal" (B33), "Apocalyptic?" (A1), "Apocalyptics" (A1), "The Artist" (A1), "Atlantis and the Department Store" (A1), "Banff" (B7), "Bestialities" (B75), "Birth Day" (A1), "Black-White Under Green: May 18, 1965" (A2), "Branches" (A2), "Butterfly Bones OR Sonnet Against Sonnets" (A1), "Canadian/ Inverted" (A2), "A Child: Marginalia on an Epigraph (Mt. 18:3; Lk. 9:48)" (A2), "The Christian's Year in Miniature" (A2), "Christmas: Anticipation" (A2), "Chronic" (A1), "Civility a Bogey OR Two Centuries of Canadian Cities" (B47), "Controversy" (A2), "A Conversation" (A1), "Death" (A1), "Dispersed Titles" (A1), "The Dumbfounding" (B71), "The Earth That Falls Away" (B76), "Easter" (A1), "Extra-Political: The Thorned Speaks (While Day Horses Afar)" (A1), "The Fallen, Fallen World" (A1), "Far Off from University" (B45), "First" (A2), "Five Breaks" (B74), "For Dr. and Mrs. Dresser" (A2), "For Tinkers Who Travel on Foot" (B53), "A Friend's Friend" (A1), "From a Provincial" (B34), "Grammarian on a Lakefront Park Bench" (A1), "Hiatus" (B32), "Hot June" (B65), "Identity" (A1), "In a Season of Unemployment" (B54), "In Eporphyrial Harness" (B68), "In Time" (B55), "In Truth" (A2), "Intra-Political: An Exercise in Political Astronomy" (A1), "Jael's Part" (A1), "Janitor Working on Threshold" (A2), "Jonathan, o Jonathan" (A1), "July Man" (A2), "Lonely Lover" (A2), "Many As Two" (A2), "Meeting Together of Poles and Latitudes (In Prospect)" (B42), "MicroMetro" (A2), "Miniature Biography of One of My Father's Friends Who Died a Generation Ago" (A2), "The Mirrored Man" (A1), "Mordent for a Melody" (A1), "The Mourner" (A2), "A Nameless One" (B72), "Natural/Unnatural" (B57), "New Year's Poem" (B36), "Not the Sweet Cicely of Gerardes Herball (i.e., Oriental Myrrh, Not English Myrrh" (A1), "November 23" (A1), "Of Tyranny, in One Breath (translated from a Hungarian poem by Gyula Illyes, 1956)" (A2), "Old...Young...." (A2), "On the Death of France Darte Scott: Upon the Birth of Twin Sons Who Later Died" (A1), "Once" (A2), "Our Working Day May Be Menaced" (A1), "Pace" (A2), "Person" (A2), "...Person OR A Hymn on and to the Holy Ghost" (A2), "A Prayer Answered by Prayer" (A2), "Prelude" (B46), "Public Address" (A1), "Ps. 19" (A2), "R.I.P." (A1), "Report from the Pedestrian's Outpost" (B58), "Rich Boy's Birthday Through a Window" (B40), "Riding and Waves" (B64), "Rigor Viris" (B20), "Rondeau Redouble" (A1), "A Sad Song" (A2), "Searching and Sounding" (A2), "September Street" (A1), "Simon: finis" (B69), "Snow" (B43), "Span" (A1), "The Store Seeds" (B70), "A Story" (A2), "Stray Dog, Near Ecully" (B41), "The Swimmer's Moment" (A1), "Tennis" (B44), "Thaw" (A1), "To Professor X, Year Y" (A1), "Transit" (B61), "Twilight" (B51), "Two Mayday Selves" (A2), "Unbroken Lineage" (A1), "Unfinished After-Portrait OR Stages of Mourning" (A1), "Unspeakable" (B78), "Until Silenced: To I. A. (A Pakistani Scholar, Who Quoted and Interpreted Some Lines of Rumi's Poetry for Me in the Afternoon of February 15, 1965)" (A2), "Urban Tree" (A2), "Voluptuaries and Others" (B37), "Walking Behind, en Route, in Morning, in December" (A2), "Watershed" (A1), "The Word" (A2), "Words" (A2), and "The World Still Needs" (A1).
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
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Record: 266- Title:
- Part 1 Works By Margaret Avison: Books; Translation
- Other Title:
- Part 1: Works By Margaret Avison: Books
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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Source: Part 1: Works By Margaret Avison. Mansbridge, Francis (compiler); Toronto, Ontario : ECW Press, 1985, pp. 14-34
Part 1 Works By Margaret Avison: Books; Translation
Mansbridge, Francis (compiler)
A9 [underbar]and Ilona Duczynska, trans. Acta Sanctorum and Other Tales. By Jozef Lengyel. Introd. Ilona Duczynska. London: Peter Owen, 1970. 256 pp.
Avison collaborated with Ilona Duczynska in the translation; but asked not to have her name listed on the title page on religious grounds. Duczynska mentions this in her Introduction.
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
Item Number: ABCMA06MAP1000006001001004
Record: 267- Title:
- Part 1 Works By Margaret Avison: Contributions to periodicals and books; Audio-visual material
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- Part 1: Works By Margaret Avison: Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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Source: Part 1: Works By Margaret Avison. Mansbridge, Francis (compiler); Toronto, Ontario : ECW Press, 1985, pp. 14-34
Part 1 Works By Margaret Avison: Contributions to periodicals and books; Audio-visual material
Mansbridge, Francis (compiler)
B194 "Excerpt from Work in Progress." Narr. Margaret Avison. In Six Toronto Poets. Folkways Records, FL 9086, 1958. (L.p.; 2 min., 50 sec.)
B195 "Not the Sweet Cicely of Gerardes Herball." Narr. Margaret Avison. In Six Toronto Poets. Folkways Records, FL 9086, 1958. (L.p.; 1 min., 50 sec.) Rerecorded. Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (2 min., 3 sec.)
See WS ["Not the Sweet Cicely of Gerardes Herball (i.e. Oriental Myrrh, not English Myrrh)"] and WS/D ["Not the Sweet Cicely of Gerardes Herball (i.e., Oriental Myrrh, Not English Myrrh)"].
B196 "Our Working Day May Be Menaced." Narr. Margaret Avison. In Six Toronto Poets. Folkways Records, FL 9086, 1958. (L.p.; 2 min., 5 sec.)
See WS and WS/D.
B197 "Tennis." Narr. Margaret Avison. In Six Toronto Poets. Folkways Records, FL 9086, 1958. (L.p.; 55 sec.)
See WS, WS/D, and B44.
B198 "For Dr. and Mrs. Dresser." In "A Selection of the Poetry of Margaret Avison and Margaret Atwood." Narr. Joan Gregson, Phyllis Malcolm Stewart, and Faith Ward. Host A. J. M. Smith. Prod. Peter Donkin. Anthology. CBC Radio, 1 Dec. 1966. (1 min., 42 sec.) Rerecorded. Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1679, 27 Aug. 1967. (2 min., 2 sec.)
In the 1966 tape, Smith also comments on Avison's work (C28). See Dumb. and WS/D.
B199 "In a Season of Unemployment." In "A Selection of the Poetry of Margaret Avison and Margaret Atwood." Narr. Joan Gregson, Phyllis Malcolm Stewart, and Faith Ward. Host A. J. M. Smith. Prod. Peter Donkin. Anthology. CBC Radio, 1 Dec. 1966. (1 min., 15 sec.)
Smith also comments on Avison's work (C28). See Dumb., WS/D, and B54.
B200 "A Story." In "A Selection of the Poetry of Margaret Avison and Margaret Atwood." Narr. Joan Gregson, Phyllis Malcolm Stewart, and Faith Ward. Host A. J. M. Smith. Prod. Peter Donkin. Anthology. CBC Radio, l Dec. 1966. (4 min., 16 sec.) Rerecorded. Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (4 min., 11 sec.)
In the 1966 tape, Smith also comments on Avison's work (C28). See Dumb. and WS/D.
B201 "The Word." In "A Selection of the Poetry of Margaret Avison and Margaret Atwood." Narr. Joan Gregson, Phyllis Malcolm Stewart, and Faith Ward. Host A. J. M. Smith. Prod. Peter Donkin. Anthology. CBC Radio, 1 Dec. 1966. (1 min., 55 sec. )
Smith also comments on Avison's work (C28). See Dumb. and WS/D.
B202 "The Absolute the Day." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (1 min., 13 sec.)
B203 "The Absorbed." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (2 min., 10 sec.) Rerecorded. Narr. Margaret Avison. Modern Canadian Poetry. CBC Television Extension, 11 June 1967. (2 min., 5 sec.)
Includes an interview (C114). See also Dumb. and WS/D.
B204 "Bestialities." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (44 sec.)
See Dumb., WS/D, and B75 ("Bestealities/OR/Any Number Can Play").
B205 "Black-White Under Green." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (2 min., 10 sec.)
See Dumb. and WS/D.
B206 "[The boy with the brilliant promise...]." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (25 sec.)
B207 "The Earth That Falls Away." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (9 min., 6 sec.) Rerecorded. Narr. Margaret Avison. Toronto: CBC Archives, 16 Sept. 1974. (11 min., 20 sec.)
See Dumb., WS/D, and B76.
B208 "[Grey by water...]." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (40 sec.)
B209 "He Couldn't Be Safe." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (39 sec.)
See sun. and B84.
B210 "[Inside the TTC...]." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (2 min.)
B211 "Insomniac's Report." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (45 sec.) Rerecorded. Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (42 sec.)
B212 "Is That You / Me Standing on My / Your Foot?". Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (1 min.)
B213 "[A junk truck stopped beside my bus...]." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (2 min., 20 sec.)
B214 "[No instant morality...]." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (55 sec.)
B215 "October 21, 1966." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967.
B216 "Of Tyranny, in One Breath." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (6 min., 25 sec.) Rerecorded. Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (6 min., 44 sec.)
See Dumb. and WS/D.
B217 "The Seven Birds." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (54 sec.) Rerecorded. Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1679, 27 Aug. 1967. (59 sec.)
See sun. ["The Seven Birds (College Street at Bathurst): SKETCH"].
B218 "Thaw." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (1 min., 7 sec.) Recorded. Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (1 min., 14 sec.)
See WS and WS/D.
B219 "To Professor X, Year Y." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (1 min., 59 sec.)
See WS and WS/D.
B220 "Two Mayday Selves." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (1 min., 13 sec.)
See Dumb. and WS/D.
B221 "The Valiant Vacationist." Narr. Margaret Avison. Poetry Reading. Montreal: Sir George Williams Univ., 27 Jan. 1967. (3 min., 2. sec.) Rerecorded. Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (2 min., 56 sec.)
See B19.
B222 "The Dumbfounding." Narr. Margaret Avison. Modern Canadian Poetry. CBC Television Extension, 11 June 1967. (2 min., 12 sec.)
Includes an interview (C114). See also Dumb., WS/D, and B71.
B223 "The Agnes Cleves Papers." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (21 min., 24 sec.)
See WS, WS/D, and B38.
B224 "From a Provincial." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (53 sec.)
See WS, Dumb., WS/D, and B34.
B225 "New Year's Poem." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (1 min., 18 sec.)
See WS, WS/D, and B36.
B226 "On the Death of France Darte Scott (Upon the Birth of Twin Sons Who Later Died)." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (57 sec.)
See WS and WS/D.
B227 "Poem with Footnotes for October." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (51 sec.)
B228 "Searching and Sounding." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (3 min., 53 sec.)
See Dumb. and WS/D.
B229 "September Street." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (1 min., 19 sec.)
See WS and WS/D.
B230 "Snow." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (41 sec.)
See WS, WS/D, and B43.
B231 "The Store Seeds." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (41 sec.)
See Dumb., WS/D, and B70.
B232 "Streetcar, or Evil, Though God Is Sovereign." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1679, 27 Aug. 1967. (1 min., 50 sec.)
See sun. ("Wonder: A Street-car Sketch").
B233 "A Triad Ballad Cycle." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (38 sec.)
B234 "Voluptuaries and Others." Narr. Margaret Avison. Canadian Poets. Toronto: CBC Archives, T1678, 27 Aug. 1967. (2 min., 4 sec.)
See WS, WS/D, and B37.
B235 "Butterfly Bones; or, a Sonnet Against Sonnets." Narr. Margaret Avison. In "Canadian Poets Reading." Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 6 Nov. 1971.
See WS and WS/D.
B236 "Micro-Metro." Narr. Margaret Avison. Toronto: CBC Archives, 16 Sept. 1974. (1 min., 25 sec.)
See Dumb. and WS/D.
B237 "Old...Young...." Narr. Margaret Avison. Toronto: CBC Archives, 16 Sept. 1974. (31 sec.)
See Dumb. and WS/D.
B238 "Pace." Narr. Margaret Avison. Toronto: CBC Archives, 16 Sept. 1974. (43 sec.)
See Dumb. and WS/D.
B239 "A Sad Song." Narr. Margaret Avison. Toronto: CBC Archives, 16 Sept. 1974. (51 sec.)
See Dumb. and WS/D.
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
Item Number: ABCMA06MAP1000006001002009
Record: 268- Title:
- Part 1 Works By Margaret Avison: Contributions to periodicals and books; Book reviews
- Other Title:
- Part 1: Works By Margaret Avison: Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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Part 1 Works By Margaret Avison: Contributions to periodicals and books; Book reviews
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B164 Rev. of New Poems, by Dylan Thomas. The Canadian Forum, Sept. 1943, p. 143.
B165 Rev. of Day and Night, by Dorothy Livesay. The Canadian Forum, June 1944, p. 67.
B166 Rev. of The Soldier, a Poem, by Conrad Aiken. The Canadian Forum, Jan. 1945, p. 241.
B167 Rev. of Here and Now, by Irving Layton. The Canadian Forum, May 1945, pp. 47-48. See B187; see also C4 for Layton's response.
B168 Rev. of The Task, by Robert Bhain Campbell. The Canadian Forum, Dec. 1945, p. 223.
B169 Rev. of Selected Poems, by Kenneth Patchen; and Residence on Earth and Other Poems, by Pablo Neruda. The Canadian Forum, April 1947, pp. 21-22.
B170 Rev. of The Rocking Chair and Other Poems, by A. M. Klein. The Canadian Forum, Nov. 1948, p. 191. Rpt. in A. M. Klein. Ed. and introd. Tom Marshall. Critical Views on Canadian Writers, No. 4. Toronto: Ryerson, 1970, pp. 55-58.
B171 Rev. of The Canticle of the Rose, Selected Poems 1920-1947, by Edith Sitwell. The Canadian Forum, Feb. 1950, pp. 262-63.
B172 Rev. of The Red Heart, by James Reaney. The Canadian Forum, Feb. 1950, p. 264.
B173 Rev. of Xaipe: Seventy-One Poems, by e. e. cummings. The Canadian Forum, Jan. 1951, p. 240.
B174 Rev. of Collected Poems, by W. B, Yeats. The Canadian Forum, Feb. 1951, p. 261.
B175 Rev. of The Dead Seagull, by George Barker. The Canadian Forum, Feb. 1951, p. 262.
B176 "Turning New Leaves." Rev. of Selected Essays, by T. S. Eliot. The Canadian Forum, March 1951, pp. 282-84.
B177 Rev. of Boswell's London Journal, ed. Frederick A. Pottle. The Canadian Forum, June 1951, p. 70.
B178 Rev. of William Stukely: An Eighteenth Century Antiquarian, by Stuart Piggot. The Canadian Forum, July 1951, p. 94.
B179 Rev. of A Vagrant and Other Poems, by David Gascoyne. The Canadian Forum, Aug. 1951, p. 119.
B180 Rev. of A Crisis in English Poetry, 1880-1940, by V. de S. Pinto. The Canadian Forum, March 1952, pp. 284-85.
B181 Rev. of Collected Poems, by Conrad Aiken. The Canadian Forum, July 1954, p. 92.
B182 "Poetry Chronicle." Rev. of Let Us Compare Mythologies, by Leonard Cohen; Selected Poems, by Raymond Souster; The Bull Calf and Other Poems, by Irving Layton; The Hangman Ties the Holly, by Anne Wilkinson; Friday's Child, by Wilfred Watson; Even Your Right Eye, by Phyllis Webb; and Collected Poems, by William Empson. The Tamarack Review, No. 1 (Autumn 1956), pp. 78-85.
B183 "Callaghan Revisted." Rev. of Morley Callaghan's Stories, by Morley Callaghan. The Canadian Forum, Feb. 1960, pp. 276-77. Rpt. in Morley Callaghan. Ed. and introd. Brandon Conron. Critical Views on Canadian Writers, No. 10. Toronto: McGraw-Hill Ryerson, 1975, pp. 74-77.
B184 "Turning New Leaves." Rev. of Terror in the Name of God, by Simma Holt. The Canadian Forum, March 1965, pp. 280-81.
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B153 "Among Those Present." Acta Victoriana [Victoria College, Univ. of Toronto], 61, No. 2 (Nov. 1936), 12-13.
B154 "The Bob." Acta Victoriana [Victoria College, Univ. of Toronto], 63, No. 1 (Nov. 1938), 32.
B155 "Conferences at Potsdam." The Nations Have Declared: The Documents Issued by The United Nations, Pt. III (Oct. 145), pp. 25-27.
B156 "The International Court." The Nations Have Declared: The Documents Issued by The United Nations, Pt. III (Oct. 1945), p. 22.
B157 Introduction. The Nations Have Declared: The Documents Issued by The United Nations, Pt. III (Oct. 1945), pp. 3-4.
B158 "San Francisco Conference on International Organization." The Nations Have Declared: The Documents Issued by The United Nations, Pt. III (Oct. 1945), pp. 5-7.
B159 "The Trial of War Criminals." The Nations Have Declared: The Documents Issued by The United Nations, Pt. III (Oct. 1945), pp. 35-36.
B160 "Poets in Canada." Poetry [Chicago], 94 (June 1959), 182-85.
B161 "I Wish I Had Known." In I Wish I Had Known. Ed. M. H. London: Scripture Union, 1968, pp. 86-89. Signed: "Angela Martin."
B162 "...At Least We Are Together...." Crux, 8, No. 2 (1970-71), 15-19.
B163 Autobiographical Note. In 6 Days: An Anthology of Canadian Christian Poetry. Ed. H. Houtman. Toronto: Wedge, 1971, pp. 140-41.
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B187 Letter. The Canadian Forum, June 1945, p. 65.
Avison's previous critical review of Irving Layton's Here and Now (B167) had caused Layton to respond with characteristic vigour. Avison's response immediately follows Layton's reply (C4), explaining the premises behind her judgement.
B188 Letter to Cid Corman. 9 March 1961. Printed in Origin, Ser. 2, No. 4 (Jan. 1962), pp. 10-11.
B189 Letter to bpNichol. In bp/Journeying and the Returns. By bpNichol. Toronto: Coach House, 1967, n. pag.
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B185 Rev. of The Lady Vanishes. Acta Victoriana [Victoria College, Univ. of Toronto], 63, No. 4 (Feb. 1939), 32-33.
B186 Rev. of Moonlight Sonata. Acta Victoriana [Victoria College, Univ. of Toronto], 63, No. 5 (March 1939), 33-34.
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Note: When an item is reprinted in one of Avison's books, this fact is noted in the entry through one of the following abbreviations:
The Dumbfounding ................Dumb.
Sliverick .......................Sliv.
sunblue . ........................sun.
Winter Sun .........................WS
Winter Sun/The Dumbfounding:
Poems 1940-66 ..............WS/D
B1 "An Argument for Joy." Hermes [Humberside Collegiate], 1932, p. 111.
B1a "The Prairie." Hermes [Humberside Collegiate], 1932, p. 121.
B1b "Star Time." Hermes [Humberside Collegiate], 1932, p. 114.
B1c "To an Apple-Core." Hermes [Humberside Collegiate], 1932, p, 119.
B1d "Back Pew." Acta Victoriana [Victoria College, Univ. of Toronto], 61, No. 3 (Dec. 1936), 9.
B2 "Dirge." Acta Victoriana [Victoria College, Univ. of Toronto], 61, No. 4 (Jan. 1937), 5.
B3 "Mr. Noah Sir...." Acta Victoriana [Victoria College, Univ. of Toronto], 61, No. 5 (Feb. 1937), 21.
B4 "Loose Ends." Acta Victoriana [Victoria College, Univ. of Toronto], 62, No. 2 (Dec. 1937), 12.
B5 "Or Ever the Golden Bowl." Acta Victoriana [Victoria College, Univ. of Toronto], 63, No. 2 (Dec. 1938), 3.
B6 "Gatineau." Acta Victoriana [Victoria College, Univ. of Toronto], 64, No. 2 (Dec. 1939), frontispiece. Rpt. in Canadian Poetry Magazine, 4, No. 3 (Dec. 1939), 19.
B7 "Alberta." Acta Victoriana [Victoria College, Univ. of Toronto], 64, No. 4 (Feb. 1940), 18. WS (revised--"Banff"); WS/D.
B8 "Yonge Street." Acta Victoriana [Victoria College, Univ. of Toronto], 64, No. 5 (March 1940), 6.
B9 "Break of Day." The Canadian Forum, Nov. 1942, p. 243.
B10 "I Saw One Walking." The Canadian Forum, Nov. 1942, p. 229.
B11 "The Butterfly." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and introd. A. J. M. Smith. Chicago: Univ. of Chicago Press, 1943, p. 429. Rpt. Toronto: Gage, 1943, p. 429.
B12 "Maria Minor." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and introd. A. J. M. Smith. Chicago: Univ. of Chicago Press, 1943, p. 428. Rpt. Toronto: Gage, 1943, p. 428.
B13 "Neverness or The One Ship Beached on One Far Distant Shore." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and introd. A. J. M. Smith. Chicago: Univ. of Chicago Press, 1943, pp. 426-28. Rpt. Toronto: Gage, 1943, pp. 426-28.
B14 "Old Adam." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and introd. A. J. M. Smith. Chicago: Univ. of Chicago Press, 1943, p. 429. Rpt. Toronto: Gage, 1943, p. 429.
B15 "Optional." The Canadian Forum, Jan. 1943, p. 307.
B16 "The Past and the Break." Manitoba Arts Review, 3, No. 4 (Fall 1943), 30.
B17 "This Is the Season." Manitoba Arts Review, 3, No. 4 (Fall 1943), 31.
B18 "Mutable Hearts." The Canadian Forum, Oct. 1943, p. 155.
B19 "The Valiant Vacationist." The Canadian Forum, Dec. 1944, p. 205. See B221.
B20 "Rigor Viris." The Canadian Forum, Nov. 1945, p. 191. WS; WS/D.
B21 "Geometaphysics." Poetry [Chicago], 70 (Sept. 1947), 318-19.
B22 "The Iconoclasts." Poetry [Chicago], 70 (Sept. 1947), 319-20.
B23 "The Party." Poetry [Chicago], 70 (Sept. 1947), 323.
B24 "Perspective." Poetry [Chicago], 70 (Sept. 1947), 320-21. Rpt. in Quarry, 18, No. 2 (Winter 1969), 20.
B25 "Song but Oblique to '47." Poetry [Chicago], 70 (Sept. 1947), 322.
B26 "Another Christmas." Contemporary Verse, No. 26 (Fall 1948), p. 5.
B27 ��"Christmas." Contemporary Verse, No. 26 (Fall 1948), p. 3.
B28 "The Road." Contemporary Verse, No. 26 (Fall 1948), p. 4.
B29 "The Coward." here and now, I, No. 3 (Jan. 1949), 68.
B30 "Omen." here and now, I, No. 3 (Jan. 1949), 68.
B31 "Song of the Flaming Sword." Contemporary Verse, No. 35 (Summer 1951), p. 16.
B32 "Hiatus." Poetry [Chicago], 80 (April 1952), 15. WS; WS/D.
B33 "The Apex Animal." Kenyon Review, 18 (Spring 1956), 263-64. WS; WS/D.
B34 "From a Provincial." Kenyon Review, 18 (Spring 1956) 263. WS; Dumb.; WS/D. See B224.
B35 "Knowledge of Age." Kenyon Review, 18 (Spring 1956), 265.
B36 "New Year's Poem." Kenyon Review, 18 (Spring 1956), 264-65. WS; WS/D. See B225.
B37 "Voluptuaries and Others." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and introd. A. J. M. Smith. 3rd ed. Toronto: Gage, 1957, pp. 476-77. WS; WS/D. See B234.
B38 "The Agnes Cleves Papers." Origin, Ser. 1, No. 20 (Winter 1957), pp. 99-109. WS; WS/D. See B223.
B39 "All Fools' Eve." Poetry [Chicago], 91 (Dec. 1957), 173. WS; WS/D.
B40 "Rich Boy's Birthday through a Window." Poetry [Chicago], 91 (Dec. 1957), 175. WS; WS/D ("Rich Boy's Birthday Through a Window").
B41 "Stray Dog, Near Ecully: Commune de Rhone." Poetry [Chicago], 91 (Dec. 1957), 174. WS ("Stray Dog, near Ecully"); WS/D ("Stray Dog, Near Ecully").
B42 "Meeting Together of Poles & Latitudes: in Prospect." In The Penguin Book of Canadian Verse. Ed. and introd. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1958, pp. 214-15. WS ["Meeting together of Poles and Latitudes (In Prospect)"]; Dumb. ["Meeting Together of Poles and Latitudes (in Prospect)"]; WS/D ["Meeting Together of Poles and Latitudes (In Prospect)"].
B43 "Snow." In The Penguin Book of Canadian Verse. Ed. and introd. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1958, p. 214. WS; WS/D. See B230.
B44 "Tennis." In The Penguin Book of Canadian Verse. Ed. and introd. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1958, pp. 213-14. WS; WS/D. See B197.
B45 "June as Christmas." Combustion, No. 8 (Nov. 1958), p. 4. WS ("Far off from University"); WS/D ("Far Off from University").
B46 "Prelude." Poetry [Chicago], 93 (March 1959), 366-68. WS; WS/D.
B47 "Civility a Bogey--Two Centuries of Canadian Cities." Queen's Quarterly, 66 (Summer 1959), 275-76. WS ("Civility a Bogey; or, Two Centuries of Canadian Cities"); WS/D ("Civility a Bogey OR Two Centuries of Canadian Cities").
B48 "Factoring." The Canadian Forum, Aug. 1959, p. 110.
B49 "Chestnut Tree--Three Storeys Up." In Poetry 62. Ed. Eli Mandel and Jean-Guy Pilon. Preface Eli Mandel. Toronto: Ryerson, 1961, pp. 10-11.
B50 "Unseasoned." In Poetry 62. Ed. Eli Mandel and Jean-Guy Pilon. Preface Eli Mandel. Toronto: Ryerson, 1961, pp. 14-15.
B51 "Twilight." Waterloo Review [London, Ont.], No. 6 (Winter 1961), p. 27. Dumb.; WS/D.
B52 "Diminuendo." Origin, Ser. 2, No. 4 (Jan. 1962), pp. 17-18.
B53 "For Tinkers Who Travel on Foot." Origin, Ser. 2, No. 4 (Jan. 1962), p. 5. Dumb.; WS/D.
B54 "In a Season of Unemployment." Origin, Ser. 2, No. 4 (Jan. 1962), p. 19. Dumb.; WS/D. See B199.
B55 "In Time." Origin, Ser. 2, No. 4 (Jan. 1962), p. 1. Dumb.; WS/D.
B56 "The Local & the Lakefront." Origin, Ser. 2, No. 4 (Jan. 1962), pp. 3-4.
B57 "Natural/Unnatural." Origin, Ser. 2, No. 4 (Jan. 1962), pp. 20-21. Dumb. (revised); WS/D.
B58 "Report from the Pedestrians' Outpost." Origin, Ser. 2, No. 4 (Jan. 1962), p. 2. Dumb.; WS/D.
B59 "Streetcar." Origin, Ser. 2, No. 4 (Jan. 1962), pp. 6-7.
B60 "To a Period." Origin, Ser. 2, No. 4 (Jan. 1962), pp. 12-13.
B61 "Transit." Origin, Ser. 2, No. 4 (Jan. 1962), p. 16. Dumb.; WS/D.
B62 "The Typographer's Ornate Symbol at the End of a Chapter or Story." Origin, Ser. 2, No. 4 (Jan. 1962), pp. 14-15.
B63 "Waking Up." Origin, Ser. 2, No. 4 (Jan. 1962), p. 8.
B64 "Why Not?". Origin, Ser. 2, No. 4 (Jan. 1962), p. 9. Rpt. ("Riding and Waves") in Chatelaine, Oct. 1972, p. 104. Dumb.; WS/D.
B65 "Hot June." The Canadian Forum, March 1963, p. 286. Dumb.; WS/D.
B66 "Hialog." Ganglia, Ser. 1, No. 1 (1964), n. pag.
B67 "Holiday Plans for the Whole Family." In Poetry of Mid-Century 1940-1960. Ed. and introd. Milton Wilson. New Canadian Library Original, No. O4. Toronto: McClelland and Stewart, 1964, p. 110.
B68 "In Eporphyrial Harness." Ganglia, Ser. 1, No. 1 (1964), n. pag. Dumb.; WS/D.
B69 "Simon (finis)." In Poetry of Mid-Century 1940-1960. Ed. and introd. Milton Wilson. New Canadian Library Original, No. O4. Toronto: McClelland and Stewart, 1964, p. 111. Dumb. ("Simon: finis"); WS/D.
B70 "The Store Seeds." Ganglia, Ser. 1, No. 1 (1964), n. pag. Dumb.; WS/D. See B231.
B71 "The Dumbfounding." His, Feb. 1964, [back cover]. Dumb.; WS/D. See B222.
B72 "A Nameless One." Desert Review, Spring 1964, p. 4. Dumb.; WS/D.
B73 "From a Continuing Tribute: To Karl Polanyi." The Canadian Forum, June 1964, p. 52.
B74 "Five Breaks." The Literary Review [Fairleigh Dickinson Univ., Teaneck, N.J.], [Canada Number], 8 (Summer 1965), 515-16. Dumb.; WS/D.
B75 "Bestealities/OR/Any Number Can Play." BlewOintment [Vancouver], 3, No. 1 (Nov. 1965), n. pag. Dumb. ("Bestialities"); WS/D. See B204.
B76 "The Earth That Falls Away." Island [Toronto], No. 6--Combustion, No. 15 (1966), pp. 62-69. Dumb.; WS/D. See B207.
B77 "A Medical-Psychological Decision. (Anagoge?)." Ganglia, Ser. 1, No. 5 (1966), n. pag.
B78 "Unspeakable." Canadian Poetry, 29 (Feb. 1966), 12. Dumb.; WS/D.
B79 "Despondency." Adam International Review, Nos. 313-14-15 (1967), p. 10.
B80 "March: College-Bathurst Corner." BlewOintment [Vancouver], 5, No. 1 (Jan. 1967), n. pag.
B81 "To Jacques Ellul." BlewOintment [Vancouver], 5, No. 1 (Jan. 1967), n. pag.
B82 "All Out or Oblation." The Catalyst, No. 1 (Autumn 1967), p. 21. Rpt. (revised--"All Out") in BlewOintment [Vancouver], 6, No. 2 (Aug. 1968), n. pag. sun. [revised--"All Out; OR Oblation (as defined in 2 Sam. 23, 13-17 & I Chron. II, 17-19)"].
B83 "Having." Credo, No. 5 (April 1968), p. 6.
B84 "He Couldn't Be Safe." His, Dec. 1968, p. 42. sun. ["He Couldn't Be Safe (Isaiah 53:5)"]. See B209.
B85 "Slow Advent and Christmas: Time." Christianity Today, 6 Dec. 1968, p. 9. sun. (revised--"Slow Advent").
This poem is also used by the American Inter-Varsity Christian Fellowship on a greeting card.
B86 "'Canada': Shooting Schedule." In Notes for a Native Land. Ed. and introd. Andy Wainwright. Ottawa: Oberon, 1969, pp. 78-79.
B87 "Childhood Fields Near Ponoka." IS., No. 7 (1969), n. pag.
B88 "The Useless Using." IS., No. 7 (1969), n. pag.
B89 "On Believing the Bible." In Margaret Avison. By Ernest Redekop. Studies in Canadian Literature, No. 9. Toronto: Copp Clark, 1970, pp. 144-45. Rpt. in Michigan Quarterly Review, 22 (Summer 1983), 393-94. sun. (revised--"The Bible to Be Believed").
B90 "Sliverick." ellipse, No. 17 (1975), p. 109. Rpt. partly trans. Jerry Ofo in ellipse, No. 17 (1975), p. 108. Sliv.
B91 "April 17-18, 1970 (Apollo XIII)." The Telegram [Toronto], 25 April 1970, p. 51. Rpt. in Margaret Avison. By Ernest Redekop. Studies in Canadian Literature, No. 9. Toronto: Copp Clark, 1970, p. 146. sun. (revised--"Poem on the Astronauts in Apollo XIII's Near-Disaster Written April 17-18 1970, for the newspaper").
B92 "Because Somebody Said 'They Dress So Well.'" Impulse, I, No. 1 (1971), 15.
B93 "Immobility / Rest /...." Impulse, I, No. 1 (1971), 16.
B94 "Christmas from Summertime Seen." Exile, I, No. 2 (1972), 105. sun. (revised--"Midsummer Christmas").
B95 "Light I." Exile, I, No. 2 (1972), 103. sun. [revised--"Light (I)"].
B96 "Part of a Debate." Crux, Fall 1972, p. 17.
B97 "Light II." Exile, I, No. 2 (1972), 104. sun. ["Light (II)"].
B98 "March Morning in London, Ont." Applegarth's Folly [London Ont.], No. 1 (Summer 1973), p. 110. sun. (revised--"March Morning").
B99 "We the Poor Who Are Always with Us." In Canadian Anthology. Ed. and preface Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, p. 452. sun. (revised--"We the Poor who are Always with us").
B100 "Backing into Being." The Second Mile [Hantsport, N.S.], Aug. 1977, p. 12. sun.
B101 "Embattled Deliverance." The Second Mile [Hantsport, N.S.], Aug. 1977, p. 14. sun.
B102 "March." The Second Mile [Hantsport, N.S.], Aug. 1977, p. 13. sun.
B103 "Sounds Carry." The Second Mile [Hantsport, N.S.], Aug. 1977, p. 10. sun.
B104 "Speleologist." The Second Mile [Hantsport, N.S.], Aug. 1977, p. 11. sun.
B105 "Thirst." The Second Mile [Hantsport, N.S.], Aug. 1977, p. 13. sun.
B106 "About a New Anthology Again...." In Poets of Canada. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1978, pp. 153-54.
B107 "A Hearing." In The Country of the Risen King: An Anthology of Christian Poetry. Ed. Merle Meeter. Grand Rapids, Mich.: Baker Book House, 1978, pp. 10-11.
B108 "No Matter What." In The Country of the Risen King: An Anthology of Christian Poetry. Ed. Merle Meeter. Grand Rapids, Mich.: Baker Book House, 1978, p. 15.
B109 "Thinking Back." Acta Victoriana [Victoria College, Univ. of Toronto], [Centennial 1878-1978], 102, No. 2 (Fall 1978), 42.
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
Item Number: ABCMA06MAP1000006001002001
Record: 273- Title:
- Part 1 Works By Margaret Avison: Contributions to periodicals and books; Reprinted anthology contributions: A selection
- Other Title:
- Part 1: Works By Margaret Avison: Contributions to periodicals and books
- Record Type:
- Reference Series
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
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- Bibliography
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- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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Source: Part 1: Works By Margaret Avison. Mansbridge, Francis (compiler); Toronto, Ontario : ECW Press, 1985, pp. 14-34
Part 1 Works By Margaret Avison: Contributions to periodicals and books; Reprinted anthology contributions: A selection
Mansbridge, Francis (compiler)
B118 "The Butterfly" and "Rigor Viris." In Other Canadians: An Anthology of New Poetry in Canada 1940-1946. Ed. John Sutherland. Montreal: First Statement, 1947, pp. 29-30.
B119 "The Butterfly." In Canadian Poems 1850-1952. Ed. Louis Dudek and Irving Layton. 2nd ed. Toronto: Contact, 1952, p. 97.
B120 "Christmas." In Twentieth Century Canadian Poetry: An Anthology with Introduction and Notes. Ed. and introd. Earle Birney. Toronto: Ryerson, 1953, p. 44.
B121 "Rigor Viris." In Canadian Poetry in English. Rev. and enl. ed. Ed. Bliss Carman, Lorne Pierce, and V. B. Rhodenizer. Foreword Lorne Pierce. Toronto: Ryerson, 1954, p. 437.
B122 "The Butterfly," "Maria Minor," "Neverness, or The One Ship Beached on One Far Distant Shore," "Perspective," "Rigor viris," "[The Simple Horizontal]," and "Voluptuaries and Others." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and preface A. J. M. Smith. 3rd ed. Toronto: Gage, 1957, pp. 471-77.
B123 "Knowledge of Age" and "Perspective." In The Penguin Book of Canadian Verse. Ed. and introd. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1958, pp. 212-13.
B124 "The Butterfly," "Meeting Together of Poles & Latitudes: In Prospect," "New Year's Poem," "Perspective," "Stray Dog, near Ecully, Valley of the Rhone," and "Watershed." In The Oxford Book Of Canadian Verse: In English and French. Ed. and introd. A. J. M. Smith. Toronto: Oxford Univ. Press, 1960, pp. 354-60.
B125 "Chestnut Tree--Three Storeys Up," "Twilight," "The Two Selves," and "Unseasoned." In Poetry 62. Ed. Eli Mandel and Jean-Guy Pilon. Preface Eli Mandel. Toronto: Ryerson, 1961, pp. 10-15.
B126 "Ode to Bartok." In The Plough and the Pen: Writings from Hungary 1930-1956. Ed. Ilona Duczynska and Karl Polanyi. Foreword W. H. Auden. Toronto: McClelland and Stewart, 1963, pp. 69-72.
Adapted to English from work sheets including "the literal translation and word identifications, the rhyme and assonance patterns, number of syllables and rhythmic pictures" by Ilona Duczynska of a poem by Gyula Illyes.
B127 "All Fools' Eve," "Birth Day," "Dispersed Titles," "From a Provincial," "The Iconoclasts," "Intra-Political: An Exercise in Political Astronomy," "The Local & the Lakefront," "Meeting Together of Poles and Latitudes (In Prospect)," "Mordent for a Melody," "On the Death of France Darte Scott: Upon the Birth of Twin Sons Who Later Died," "Perspective," "Snow," "Thaw," "To Professor X, Year Y," "The Valiant Vacationist," "Voluptuaries and Others," and "Waking Up." In Poetry of Mid-Century 1940-1960. Ed. and introd. Milton Wilson. New Canadian Library Original, No. O4. Toronto: McClelland and Stewart, 1964, pp. 84-110.
B128 "The Apex Animal," "The Butterfly," "Butterfly Bones; or, Sonnet Against Sonnets," "Civility a Bogey, or, Two Centuries of Canadian Cities," "Far Off from University," "Mordent for a Melody," "Neverness, or, The One Ship Beached on One Far Distant Shore," and "New Year's Poem." In Canadian Anthology. Ed. and preface Carl F. Klinck and Reginald E. Watters. Rev. ed. Toronto: Gage, 1966, pp. 434-40.
B129 "Thaw." In Great Canadian Writing: A Century of Imagination. Ed. and introd. Claude Bissell. Toronto: Canadian Centennial, 1966, p. 115.
B130 "A Conversation." In A Century of Canadian Literature/Un Siecle de Litterature Canadienne. Ed. Gordon Green and Guy Sylvestre. Toronto: Ryerson, 1967, pp. 506-07.
B131 "For Dr and Mrs Dresser," "In a Season of Unemployment," "Intra-Political: An Exercise in Political Astronomy," "A Story," "Voluptuaries and Others," and "The Word." In Modern Canadian Verse: In English and French. Ed. and preface A. J. M. Smith. Toronto: Oxford Univ. Press, 1967, pp. 207-19.
B132 "The Absorbed," "Black-White Under Green: May 18, 1965," "In a Season of Unemployment," "July Man," "A Nameless One," "Pace," "The Swimmer's Moment," "To Professor X, Year Y," "Voluptuaries and Others," and "The World Still Needs." In 20th Century Poetry and Poetics. Ed. and preface Gary Geddes. Toronto: Oxford Univ. Press, 1969, pp. 366-77.
B133 "The Absorbed," "Birth Day," "Black-White Under Green: May 18, 1965," "In a Season of Unemployment," "July Man," "A Nameless One," "New Year's Poem," "Pace," "Snow," "The Swimmer's Moment," "To Professor X, Year Y," "Voluptuaries and Others," and "The World Still Needs." In 15 Canadian Poets. Ed. and preface Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1970, pp. 128-43.
B134 "Butterfly Bones; or, Sonnet Against Sonnets" and "New Year's Poem." In A Little Treasury of Modern Poetry. Ed. and introd. Oscar Williams. 3rd ed. New York: Scribner, 1970, pp. 661-62.
B134a "Sliverick." In THE COSMIC CHEF GLEE AND PERLOO MEMORIAL SOCIETY UNDER THE DIRECTION OF CAPTAIN POETRY PRESENTS AN EVENING OF CONCRETE. Ed. bpNichol. Ottawa: Oberon, 1970, p. 74.
B135 "Black-White Under Green: May 18, 1965," "The Dumbfounding," "For Dr. and Mrs. Dresser," "For Tinkers Who Travel on Foot," "In a Season of Unemployment," "Ps. 19," "Searching and Sounding," "A Story," "The Swimmer's Moment," "The Two Selves," "The Word," and "Words." In 6 Days: An Anthology of Canadian Christian Poetry. Ed. H. Houtman. Toronto: Wedge, 1971, pp. 119-39.
B136 "All Fools' Eve," "Death," "New' Year's Poem," "R. I. P.," "Snow," "To Professor X, Year Y," and "The Two Selves." In Eight More Canadian Poets. Ed. and introd. Eli Mandel. Toronto: Holt, Rinehart and Winston, 1972, pp. 8-13.
B137 "A Story." In Listen! Songs and Poems of Canada. Ed. and introd. Homer Hogan. Methuen Canadian Literature Series. Toronto: Methuen, 1972, pp. 153-55.
B138 "Mutable Hearts." In Forum: Canadian Life and Letters 1920-70. Selections from The Canadian Forum. Ed. and preface J. L. Granatstein and Peter Stevens. Toronto: Univ. of Toronto Press, 1972, pp. 214-15.
B139 "Apocalyptic?", "The Butterfly," "Butterfly Bones; or, Sonnet Against Sonnets," "The Dumbfounding," "First," "Grammarian on a Lakefront Parkbench," "Neverness, or The One Ship Beached on One Far Distant Shore," "New Year's Poem," "Snow," "The Swimmer's Moment," and "Waking Up." In The Evolution of Canadian Literature in English: 1945-70. Ed. and introd. Paul Denham. Preface Mary Jane Edwards. Toronto: Holt, Rinehart and Winston, 1973, pp. 88-98.
B140 "For Tinkers Who Travel on Foot," "Tennis," and "The Two Selves." In The Norton Anthology of Modern Poetry. Ed. Richard Ellmann and Robert O'Clair. New York: Norton, 1973, pp. 957-59.
B141 "In a Season of Unemployment," "Snow," and "Twilight." In The Oxford Anthology of Canadian Literature. Ed. and preface Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 14-16.
B142 "The Apex Animal," "Butterfly Bones; or, Sonnet Against Sonnets," "'The Earth That Falls Away'" (excerpt), "New Year's Poem," "Perspective," and "The World Still Needs." In Canadian Anthology. Ed. and preface Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 447-51.
B143 "Black-White Under Green: May 18, 1965," "The Dumbfounding," and "Thaw." In The Norton Anthology of Poetry. Ed. Alexander W. Allison, Herbert Barrows, Caesar R. Blake, Arthur J. Carr, Arthur M. Eastman, and Hubert M. English, Jr. Rev. ed. New York: Norton, 1975, pp. 1184-87.
B144 "For Dr and Mrs Dresser," "Janitor Working on Threshold," "Knowledge of Age," "Meeting Together of Poles and Latitudes: In Prospect," "...Person, or a Hymn on and to the Holy Ghost," "Perspective," "Snow," and "Tennis." In The Penguin Book of Canadian Verse. 3rd ed. Ed. and introd. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1975, pp. 225-29.
B145 "The Local & the Lakefront," "Natural / Unnatural," "The Typographer's Ornate Symbol," "Waking Up," and "Why Not?". In The Gist of Origin. Ed. and introd. Cid Corman. New York: Grossman, 1975, pp. 191-96.
B146 "The Absorbed," "The Dumbfounding," "Five Breaks," "In Eporphyrial Harness," "Jonathon, O Jonathon," "July Man," "Miniature Biography," "Natural / Unnatural," "September Street," "Twilight," "Watershed," and "Words." In Canadian Poetry: The Modern Era. Ed. and preface John Newlove. Toronto: McClelland and Stewart, 1977, pp. 32-45.
B147 "All Out or Oblation," "Circuit," "The Dumbfounding," "For Tinkers Who Travel on Foot," "A Hearing," "Hymn on and to the Holy Ghost," "No Matter What," "Sestina for Professor William Blissett," and "The Word." In The Country of the Risen King: An Anthology of Christian Poetry. Ed. Merle Meeter. Grand Rapids, Mich.: Baker Book House, 1978, pp. 7-15.
B148 "Butterfly Bones: or, Sonnet Against Sonnets," "The Dumbfounding," "From a Provincial," "The Iconoclasts," "Meeting Together of Poles and Latitudes (In Prospect)," "A Nameless One," "Perspective," "Snow," and "The Swimmer's Moment." In Literature in Canada. Vol. II. Ed. and preface Douglas Daymond and Leslie Monkman. Toronto: Gage, 1978, 346-54.
B149 "All Fools' Eve," "Hiatus," "In Time," "Natural / Unnatural," "Two Mayday Selves," "Transit," and "The World Still Needs." In News and Weather: Seven Canadian Poets. Ed. and foreword August Kleinzahler. Coldstream. Ilderton, Ont.: Brick, 1982, pp. 17-26.
B150 "The Apex Animal," "Black-White Under Green: May 18, 1965," "Butterfly Bones; or Sonnet Against Sonnets," "Easter," "The Mirrored Man," "Strong Yellow, for Reading Aloud:", "The Swimmer's Moment," and "Voluptuaries and Others." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto / Downsview, Ont.: General / ECW, 1982. Vol. I, 267-76.
B151 "Civility a Bogey," "The Dumbfounding," "In a Season of Unemployment," "Meeting Together of Poles and Latitudes (In Prospect)," "A Nameless One," "New Year's Poem," "Snow," "Thaw," and "Unspeakable." In The New Oxford Book of Canadian Verse: In English. Ed. and introd. Margaret Atwood. Toronto: Oxford Univ. Press, 1982, pp. 195-204.
B152 "The Apex Animal," "The Butterfly," "Butterfly Bones; or, Sonnet Against Sonnets," "Light (I)," "Light (II)," "Light (III)," "Meeting Together of Poles and Latitudes (In Prospect)," "Neverness, or, The One Ship Beached on One Far Distant Shore," "Perspective," "Snow," "Strong Yellow, for Reading Aloud," and "Tennis." In An Anthology of Canadian Literature in English. Ed. and introd. Donna Bennett and Russell Brown. Vol. II. Toronto: Oxford Univ. Press, 1983, 33-43.
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
Item Number: ABCMA06MAP1000006001002003
Record: 274- Title:
- Part 1 Works By Margaret Avison: Contributions to periodicals and books; Short stories
- Other Title:
- Part 1: Works By Margaret Avison: Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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Source: Part 1: Works By Margaret Avison. Mansbridge, Francis (compiler); Toronto, Ontario : ECW Press, 1985, pp. 14-34
Part 1 Works By Margaret Avison: Contributions to periodicals and books; Short stories
Mansbridge, Francis (compiler)
B190 "The Wind Passeth Over It." Acta Victoriana [Victoria College, Univ. of Toronto], 62, No. 3 (Jan. 1938), 1-3.
B191 "Cyrleen." Acta Victoriana [Victoria College, Univ. of Toronto], 63, No. 2 (Dec. 1938), 9-11.
B192 "Bats and Footmarks." Acta Victoriana [Victoria College, Univ. of Toronto], 65, No. 2 (Nov. 1940), 15.
B193 "Night Edition." The Canadian Forum, Feb. 1953, pp. 253-54.
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
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Record: 275- Title:
- Part 1 Works By Margaret Avison: Contributions to periodicals and books; Translations and adaptations
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- Part 1: Works By Margaret Avison: Contributions to periodicals and books
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
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- Bibliography
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- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 1: Works By Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 14-34)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MAP1
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Source: Part 1: Works By Margaret Avison. Mansbridge, Francis (compiler); Toronto, Ontario : ECW Press, 1985, pp. 14-34
Part 1 Works By Margaret Avison: Contributions to periodicals and books; Translations and adaptations
Mansbridge, Francis (compiler)
B110 "Ode to Bartok." The New Reasoner, 1, No. 5 (Summer 1958), 69-72.
Adapted to English from the literal translation by Ilona Duczynska of a poem by Guyla Illyes.
B111 "Ars Poetica." In The Plough and the Pen: Writings from Hungary 1930-1956. Ed. Ilona Duczynska and Karl Polanyi. Foreword W. H. Auden. Toronto: McClelland and Stewart, 1963, pp. 169-70.
Adapted to English from work sheets including "the literal translation and word identifications, the rhyme and assonance patterns, number of syllables and rhythmic pictures" by Ilona Duczynska of a poem by Attila Jozsef.
B112 [underbar]and Eustace Ross. "Nightmare and Dawn." In The Plough and the Pen: Writings from Hungary 1930-1956. Ed. Ilona Duczynska and Karl Polanyi. Foreword W. H. Auden. Toronto: McClelland and Stewart, 1963, pp. 188-89.
Adapted to English from work sheets including "the literal translation and word identifications, the rhyme and assonance patterns, number of syllables and rhythmic pictures" by Ilona Duczynska of a poem by Zoltan Zelk.
B113 "Debris." In The Plough and the Pen: Writings from Hungary 1930-1956. Ed. Ilona Duczynska and Karl Polanyi. Foreword W. H. Auden. Toronto: McClelland and Stewart, 1963, pp. 183-84.
Adapted to English from work sheets including "the literal translation and word identifications, the rhyme and assonance patterns, number of syllables and rhythmic pictures" by Ilona Duczynska of a poem by Laszlo Benjamin.
B114 "Farm, at Dark, on the Great Plain." In The Plough and the Pen: Writings from Hungary 1930-1956. Ed. Ilona Duczynska and Karl Polanyi. Foreword W. H. Auden. Toronto: McClelland and Stewart, 1963, pp. 199-203.
Adapted to English from work sheets including "the literal translation and word identifications, the rhyme and assonance patterns, number of syllables and rhythmic pictures" by Ilona Duczynska or Karl Polanyi of a poem by Ferenc Juhasz.
B115 "Here on This Earth." In The Plough and the Pen: Writings from Hungary 1930-1956. Ed. Ilona Duczynska and Karl Polanyi. Foreword W. H. Auden. Toronto: McClelland and Stewart, 1963, pp. 185-86.
Adapted to English from work sheets including "the literal translation and word identifications, the rhyme and assonance patterns, number of syllables and rhythmic pictures" by Ilona Duczynska of a poem by Zoltan Zelk.
B116 "The Plough Moves." In The Plough and the Pen: Writings from Hungary 1930-1956. Ed. Ilona Duczynska and Karl Polanyi. Foreword W. H. Auden. Toronto: McClelland and Stewart, 1963, pp. 173-74.
Adapted to English from work sheets including "the literal translation and word identifications, and rhyme and assonance patterns, number of syllables and rhythmic pictures" by Ilona Duczynska of a poem by Gyula Illyes.
B117 "Wayfaring Seaman." In The Plough and the Pen: Writings from Hungary 1930-1956. Ed. Ilona Duczynska and Karl Polanyi. Foreword W. H. Auden. Toronto: McClelland and Stewart, 1963, p. 190.
Adapted to English from work sheets including "the literal translation and word identifications, the rhyme and assonance patterns, number of syllables and rhythmic pictures" by Ilona Duczynska of a poem by Lajos Tamasi.
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Source: Mansbridge, Francis (compiler); . Part 1: Works By Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 14-34 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MAP1.
Item Number: ABCMA06MAP1000006001002002
Record: 276- Title:
- Part 2 Works on Alice Munro; Articles and sections of books, bibliographies, theses and dissertations, interviews, dramatic adaptations, and awards and honours; Articles and sections of books
- Other Title:
- Part 2 Works on Alice Munro; Articles and sections of books, bibliographies, theses and dissertations, interviews, dramatic adaptations, and awards and honours
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 2: Works On Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 364-411)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP2
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Source: Part 2: Works On Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 364-411
Part 2 Works on Alice Munro; Articles and sections of books, bibliographies, theses and dissertations, interviews, dramatic adaptations, and awards and honours; Articles and sections of books
Thacker, Robert (compiler)
[underbar]
CI "Chatelaine Centre." Chatelaine, March 1956, p.I. A short profile that includes quotations from Munro.
C2 McPherson, Hugo. "Fiction 1940-1960." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 720, 722. McPherson notes that despite the presence of writers like Munro, the short story has "lost much of its prestige." In Munro's treatment of rural Ontario "this region takes on something of the macabre atmosphere that we associate with Truman Capote and Carson McCullers."
C3 Garner, Hugh. Foreword. In Dance of the Happy Shades. Toronto: Ryerson, 1968, pp. vii-ix. Garner praises Munro's ability to make ordinary people and situations "artistically alive," while he berates the various techniques used by "second-rate" writers. Mastery of the classic short story is rare, and Munro's craftsmanship reveals her as a "literary artist." After noting some of the characteristics of the short story in Canada, Garner refers to the ease with which the reader is able to recognize and relate to the experiences and characters in Munro's work.
C4 Weaver, Robert. Afterword. In Dance of the Happy Shades. Toronto: Ryerson, 1968, n. pag. [back cover]. Munro has created a "complete world" in the small towns of South-Western Ontario. Her characters "explore the miracle of self-discovery or the despair that comes from their failure to know themselves." These storms are "lyrical, often melancholy, and always marvellously distinctive and alive."
C5 Spettigue, Doug. "Alice Munro: A Portrait of the Artist." Alumni Gazette [Univ. of Western Ontario], 45, No. 3 (July 1969), 4-5. As one of Munro's classmates at Western, Spettigue here describes the milieu in which Munro wrote her first published stories. Turning to Dance of the Happy Shades, Spettigue discusses its evocation of small-town life in South-Western Ontario and relates the regional qualities of Munro's art to those of other Canadian short stoty writers.
C6 Harvor, Beth. "The Special World of the WW's: Through Female Reality with Alice, Jennifer, Edna, Nadine, Doris, and All Those Other Girls." Saturday Night, Aug. 1969, pp. 33-35. Munro "has total recall and a painter's eye." Harvor illustrates this by describing a scene from "Walker Brothers Cowboy." Munro has rules about writing: "she must work within the structure of the classic short story form" and she must "write about the past." She has a unique understanding of the child's world and a keen eye for setting. Garner's Foreword in Dance of the Happy Shades is criticized for its "extravagant praise," and comparisons between Munro and Edna O'Brien are misleading.
C7 Reference Division, McPherson Library, University of Victoria, B.C., comp. "Munro, Alice Anne Laidlaw 1931- ." In Creative Canada: A Biographical Dictionary of Twentieth Century, Creative and Performing Artists. Vol. I. Toronto: Univ. of Toronto Press, 1971, 228. Bibliographical and brief biographical data.
C8 Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, pp. 65,138, 141, 193, 205, 210. Atwood focuses upon generational conflict and entrapment in "The Peace of Utrecht," and observes the imprisoning effects of duty, guilt, and disease. Within a discussion of the "paralysed artist," Del emerges as a "functioning artist" who is able to defy the forces that discourage her artistic growth and who "sees her act of creation as an act of redemption."
C9 Dahlie, Hallvard. "Munro, Alice." In Contemporary Novelists. Ed. James Vinson. New York: St. Martin's, 1972, pp. 910-11. 2nd ed., 1976, pp. 988-90. Dahlie's commentary follows biographical and bibliographical material. He notes that while Munro's fiction is generally set in peaceful, rural areas, she describes a world where individals live "on the edge of despair, fear, or hysteria." The tension between certainty and uncertainty recurs in her work, and her observations of rural life are from a moral not sociological point of view.
C10 Dahlie, Hallvard. "Unconsummated Relationships: Isolation and Rejection in Alice Munro's Stories." World Literature Written in English, II (April 1972), 43-48. Dahlie discusses the theme of isolation in several stories in Dance of the Happy Shades, noting the absence of "normal" characters in them. Munro emphasizes isolation over community, rejection over friendship. This isolation is psychological rather than sociological, for Munro's first-person narrators stand apart from life, observing its dance. Drawing upon R. D. Laing's theories of the "divided self," Dahlie discusses this psychic separation as a "basic pattern" in Munro's work.
C11 New, William H. "The Canadian Short Story: Introduction." World Literature Written in Enghsh, II (April 1972), 7-8. Munro, along with Margaret Laurence, George Elliott, and Alden Nowlen, describes "the impact of the rural community upon [her] central characters (often artist-author-narrators)," and although the protagonists may reject this community, what they retain "ironically characterizes the nature of [their] rebellious artistry as well as the confining spirit of the culture."
C12 New, William H. "A Checklist of Major Individual Short Story Collections." World Literature Written in Enghsh, II (April 1972), 12. New lists Munro's Dance of the Happy Shades.
C13 Stephens, Donald. "The Recent Short Story in Canada and Its Themes." World Literature Written in English, II (April 1972), 49. Thematically, in Dance of the Happy Shades, Munro "ruminates" about death, but "the only true account of a theme lies in the complete story itself, its overall effect; a short statement is only a paraphrase."
C14 Thompson, Kent. "The Canadian Short Story in English and the Little Magazines: 1971." World Literature Written in English, II (April 1972), 18, 22. Major short story writers in Canada have experienced poor sales of their books and Dance of the Happy Shades did not sell well even after it won the Governor-General's Award.
C15 New, William H. "Artifice and Experience." Canadian Ltterature, No. 53 (Summer 1972), p. 91. Rpt. ("A Fiction Chronicle, Part II: Artifice and Experience") in Articulating West: Essays on Purpose and Form in Modern Canadian Literature. [Three Solitudes: Contemporary Literary Criticism, No. I.] Toronto: new, 1972, p. 174. In Lives of Girls and Women, Munro suggests that "art can only approximate (for all it can intensify and distil) a life that is lived."
C16 "Alice Munro (1931- ). In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1973, P. 520. After presenting a brief biographical sketch, the editors note that Munro's stories appeared in a number of magazines and anthologies before she published her first collection.
C17 "Alice Munro." In The Oxford Anthology of Canadian Literature. Ed. Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 347-48. The editors note that Munro wrote short stories for many years before her first collection was published and that even though she remained on the West Coast for a number of years, her work continues to reflect the rural background of her childhood. A quotation from "The Colonel's Hash Resettled" reveals some of Munro's thoughts about writing.
C18 Gnarowski, Michael. "Munro, Alice 1931- ." In his A Concise Bibliography of English-Canadian Literature. Toronto: McClelland and Stewart, 1973, p. 86. 2nd ed., 1978, pp. 100-01. Bibliographical data.
C19 "Munro, Alice 193I- ." In Contemporary Authors" A Bio-Bibliographic Guide to Current Authors and Their Works. Ed. Clare D. Kinsman and Mary Ann Tennenhouse. Rev. ed. Vols. XXXIII-XXXVI. Detroit: Gale, 1973, 633. Bio-bibliographic information.
C20 Story, Norah. "Munro, Alice (1931- )." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Tove. Toronto: Oxford Univ. Press, 1973, p. 235. After presenting a brief biography, Story comments upon Munro's treatment of material from her own background. She also notes that Munro's stories are generally related from the perspective of a child or adolescent. Lives of Girls and Women traces the growth of a "refreshingly secure child" who learns "to sense grief, developing understanding with maturity."
C21 Waterston, Elizabeth. Survey. A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 72-73, 76, 167, 207, 208. Within a discussion of fiction by modern Canadian women, Waterston notes that in "Dance of the Happy Shades .... the old note of desire for decorum, even on the edge of a personal wilderness, still sounds." Lives of Girls and Women examines women's roles, status, and potential by looking at the contrasts between different generations of women. Its preoccupation with the relationship between mother and daughter emerges in other novels as a "major Canadian theme." Stories by Munro and others exhibit a "strong sense of voice," and Waterston attributes this development to the introduction of the radio.
C22 Dobbs, Kildare. "Book on the Way Up." Toronto Star, 4 April 1973, p. 32. Dobbs notes that Lives of Girls and Women has been selected by the Book of the Month Club as an alternate selection and was voted the top book of 1971-73 by the Canadian Booksellers Association. The appearance of Munro's stories in publications like McCall's and magazine profiles about her are also mentioned.
C23 Reid, Verna. "The Small Town in Canadian Fiction." The English Quarterly, 6 (Summer 1973), 171-81. The portrayal of the small town in Canadian fiction "has taken on a high degree of imaginative significance." Small towns are "a source of an emotional power which shapes characters and the action." This is especially so in The Lives of Girls and Women, which is treated amid a discussion of the small-town ethos in the works of Sara Jeannette Duncan, Margaret Laurence, Stephen Leacock, W. O. Mitchell, Sinclair Ross, and Ethel Wilson. Munro's portrayal of Jubilee is the most powerful (see C110).
C24 Davey, Frank. "Alice Munro (1931- )." In From There to Here: A Guide to English-Canadian Literature Since 1960. Vol. II of Our Nature-Our Voices. Erin, Ont.: Porcepic, 1974, pp. 202-04. Munro writes about the area where she grew up and "chronicles that familiar Canadian conflict between the talented, sensitive adolescent and a rigid, self-limiting society." Munro's strength is as a short story writer, and Lives of Girls and Women is "constructed of what are properly short stories that share a common setting and narrator." Davey feels that most of Munro's short stories are related by the same narrator, and he traces the similarities between the various female protagonists of her work. These protagonists are outsiders, and this "contributes to the extreme richness of physical detail that is characteristic of Alice Munro's writing." A brief bibliography follows Davey's commentary.
C25 Clery, Val. "Private Landscapes: Leo Simpson... and Alice Munro." Quill & Quire, March 1974, pp. 3, 15. Clery refers to Munro's publications and awards and traces her writing career from high school to the present. Although she continued writing after she was married, Munro sold very few stories while raising her children. She feels that perhaps her predilection towards the short story has something to do with "the way I see experience." She is a supporter of feminist aims, but feels that political sympathies have no place in fiction. Clery notes that "the tension between experience and fiction" is a recurring theme in Munro's work and that reviewers who concentrate on her talent for describing landscape are "missing the essential point." For Munro, "telling the truth is really the most powerful thing you can do."
C26 "Alice Munro (b. 1931)." In Modern Stories in English. Ed. William H. New and H. J. Rosengarten. Toronto: Copp Clark, 1975, p. 273. Munro's work explores the "tensions between the orderly and the uncontrollable in modern life, particularly as they affect women." Her characters rebel or surrender to the limits imposed upon them by the "moral and social structure of small-town society, the dimensions of family life, the roles accorded men and women by tradition and inertia." "Boys and Girls" and "Thanks for the Ride" are examples of reactions against conventions of order.
C27 French, William. "The Women in Our Literary Life." Imperial Oil Review, 59, No. I (1975), 2-3, 6, 7. Rpt. in Canadian Author & Bookman, 51, No. 3 (Spring 1976), 1, 3, 5. French notes the "unprecedented abundance" of Canadian women writers and suggests that the quality of their writing, the "feminine" subject matter and focus of their work, and a "nationalist revival" are responsible for their popularity. Munro's books concern women, but "... their problems become universal problems." Her first two books focus on a young girl seeking freedom from "the stifling conformity of small-town society," while Something l've Been Meaning to Tell You presents a wider range of setting and subject.
C28 New, William H. Among Worlds: An Introduction to Modern Commonwealth and South African Fiction. Erinm, Ont.: Porcepic, 1975, pp. 118, 249. Concentrating on the effect of landscape upon characters, New notes that while Del Jordan is artistically moved by her early surroundings, she must leave Jubilee to become a writer. The central character of "Thanks for the Ride" is doomed to a "second-class role" if she remains in a small town. New includes a brief bibliography on Munro.
C29 Struthers, J. R. (Tim). "Alice Munro and tbe American South." Canadian Review of American Studies, 6 (Fall 1975), 196-204. Rpt. (revised) in Here and Now: A Critical Anthology. Vol. I of The Canadian Novel. Ed. John Moss. Toronto: NC, 1978, pp. 121-33. Struthers treats Munro's themes and characters in light of the work of southern American writers such as William Faulkner, Eudora Welty, and James Agee. He demonstrates that the Scots-Irish Protestant ethos of both regions produced similarities in character and treatment. Lives of Girls and Women is discussed as an "open-structured novel" which is analogous to Welty's The Golden Apples, especially, although both works show similarities to other such unified collections of stories. Struthers stresses the parallels between Munro's detailed art and photography, noting her description in "The Time of Death," and her technique in "Epilogue: The Photographer," in Lives of Girls and Women, and also in "The Ottawa Valley." Elaborating on this point, Struthers compares Munro's photographic description technique to Agee's well-known experiments with description and photography in works such as Let Us Now Praise Famous Men.
C30 Struthers, J. R. (Tim). "Reality and Ordering: The Growth of a Young Artist in Lives of Girls and Women." Essays on Canadian Writing, No. 3 (Fall 1975), pp. 32-46. Rpt. (revised) in Modern Canadian Fiction. Ed. Carole Gerson. Richmond, B.C.: Open Learning Institute, 1980, pp. 164-74. Struthers compares Lives of Girls and Women to James Joyce's A Portrait of the Artist as a Young Man and Ulysses, arguing the direct influence of Joyce on Munro. Lives of Girls and Women is a Kunstlerroman. Del Jordan's responses are those of a developing artist: she distances herself from the events in her life and observes herself, as is evident when Benny's wife threatens her with a stove-lifter -- "Del's reaction was impersonal, distanced, and observant." Struthers points out numerous parallels between Lives of Girls and Women and Joyce's work, such as Del Jordan's listing of her position in the universe in the manner of Stephen Dedalus in Joyce's Portrait of the Artist as a Young Man or Ada's sneering remark that artists would soon be describing "how they go to the toilet" and the bowel-movement passage in Ulysses.
C31 Struthers, J. R. (Tim). "Myth and Reality: A Regional Approach to the Canadian Short Story." Laurentian University Review/Revue de l'Universite Laurentienne, 8, No. I (Nov. 1975), 28, 30, 44-45. Struthers states that "interaction with one's geographical and historical environment leads to the establishing of personal identity and the creation of art." In "The Peace of Utrecht," for example, Helen succeeds in creating a new life for herself, but Maddy's life and identity remain fragmented. The "ordering process of art" takes fragments of the world and unites them in the world of art in "Dance of the Happy Shades." In "Winter Wind," Munro suggests that "art is a country. . .in which many participate."
C32 Dahlie, Hallvard. "Munro, Alice." In Contemporary Novelists. Ed. James Vinson. 2nd ed. New York: St. Martin's, 1976, pp. 910-11. A very brief biography precedes a general discussion of her work, chiefly the stories in Dance of the Happy Shades. Although Munro usually writes about small-town life, she does not present a pastoral view. Her characters are "frequently on the edge of despair, fear, or hysteria," and the reader is always aware of "an undercurrent of sordidness, perversion, or violence." The power of "moral chaos" pervades her stories, which emphasize "the grotesque, the irrational, the absurd, and the dead past."
C33 Gifford, Tony. "Postscript Notes, Questions, and Projects." In The Play's the Thing: Four Original Television Dramas. Ed. Tony Gifford. Toronto: Macmillan, 1976, pp. 167-69, 171, 174, 181. One of Munro's major themes is the conflict between a sensitive young person and a "strict, self-righteous society founded on Protestant beliefs of rigid sexual and social morals." The technique of using a narrator who reminisces about herself when she was younger adds dimension to the work. Within the moral conflict, the young protagonist must "choose between various models or create her own model." Gifford provides several questions and suggestions for projects dealing with "How I Met My Husband" (B92), along with a brief bibliography.
C34 "Munro, Alice 1931- ." In Canadian Fiction: An Annotated Bibliography. Ed. Margery Fee and Ruth Cawker. Toronto: Peter Martin, 1976, p. 85. Dance of the Happy Shades presents "psychological reactions to social pressure and death," and "inner complexity" is the focal point of view of these stories. Munro explores a young girl's attempts "to understand her place in a stagnant society" in Lives of Girls and Women. The stories in Something I've Been Meaning to Tell You deal with "the discrepancies between characters' intentions and their actions" and with the gulf between "artistic aspiration and ordinary experience."
C35 New, William H. "Fiction." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 257, 258, 270-71, 283. The stories in Dance of the Happy Shades "probe brilliantly into the states of mind that both motivate and accompany events in life." New discusses the revelation contained in "Thanks for the Ride" in terms of its separate effects on the narrator, on Lois, and on the reader; the latter realizes "the sexual discrepancies that characterize much about contemporary social structure." Ultimately, in these stories and in Lives of Girls and Women, "Language and life become for Munro. . . subtle antagonists in a game of understanding."
C36 Women and Literature Collective, comp. Women and Literature: An Annotated Bibliography of Women Writers. 3rd ed. Cambridge, Mass.: Women and Literature Collective, 1976, pp. 151-52, 181. Dance of the Happy Shades is highly praised, especially "Boys and Girls," which is a "brilliant feminist story." Del of Lives of Girls and Women becomes "distracted" over a man but eventually rejects him in order to begin her "real life." Though the novel concentrates on Del and her "agnostic and feminist mother," it also includes a "whole cast of vividly-evoked local characters, mainly female, and all rich, multi-dimensional human beings." In Something I've Been Meaning to Tell You, Munro again focuses primarily on women, exploring "those moments, moments of action and the silent moments in the mind, that take everyday life beyond the ordinary." The stories in this collection concern people "facing difficult times in their lives; confronting private truths vaguely recognized and long ignored."
C37 Rasporich, Beverly J. "Child-Women and Primitives in the Fiction of Alice Munro." Atlantis [Acadia Univ.], I (Spring 1976), 4-14. A discussion of the way in which Munro "probes the nature" of her characters' "true identities beneath their artificial, disguised or misinterpreted social faces." Rasporich sees a growing sense of formal alienation in Munro's art. Munro "espouses a Darwinian naturalism"; this is evident in the actions of the females in such stories as "Boys and Girls," where the narrator for a time contemplates tricking her brother onto a dangerous rafter before adopting the traditional role of female as life-giver by allowing a horse to go free and so delay its destruction. Similarly, in "Executioners," the narrator longs for revenge against a boy--and she imagines it in gory detail. Further, such protagonists as Lois in "Thanks for the Ride" and "A Trip to the Coast" are forced into primitive behaviour by their situations. Given her predicament, Lois has little choice beyond the casual attitude toward sex she reveals yet, at the same time, she is rightly bitter about it. The central feminine dilemma in Munro's literature is that of being caught in the grip of past memory and past value systems, "while living in the present."
C38 New, Wdham H. "Pronouns and Propositions: Alice Munro's Stories." Open Letter, Ser. 3, No. 5 (Summer 1976), pp. 40-49. A stylistic analysis of many of the stories contained in Something I've Been Meaning to Tell You, concentrating on Munro's control of her material. The difficulty of communication -- between genders and generations, and about death -- are the "contrapuntal themes throughout the whole book." These themes are supported by Munro's subtle stylistic treatments of the various "I -- you," "I -- them," "He -- them" and "She -- them" relations in the book. New discusses Munro's rhetoric in such stories as "Winter Wind," "Memorial," and "The Ottawa Valley." His central point is that "the artist's rendering of failure to communicate is itself a communication, which, given over to particular narrators, allows them also their articulate moments. Somehow they are sprung from their bonds, in order to let the nature of the bonds be better understood. In the process, they manage also to reveal the degree to which their condition, being human, defies classification."
C39 Macdonald, Rae McCarthy. "A Madman Loose in the World: The Vision of Alice Munro." Modern Fiction Studies, 22 (Fall 1976), 365-74. Macdonald applies Northrop Frye's notion of a Canadian "garrison mentality" to Munro in order to define her dualistic view of the world, her "controlling vision." In Munro's view, "Man finds himself divided into camps, and the price of this division for both sides is loneliness and pain. The external deformities and violences of 'the other country,' the place of outcasts, are simply transferences of the unseen, hidden disfiguration of 'the world,' place of 'survivors.'" In "Day of the Butterfly," for example, Myra is socially ostracized -- Macdonald calls it "social murder"--by the very girls who later happily play the role of bedside visitors when Myra is ill with leukemia. The narrator's desire to repress her generosity to Myra, and also to flee from her hospital room, "becomes a symbol, on a different level, of the death of the narrator." In Munro's "bleak vision" (seen especially in Dance of the Happy Shades and Lives of Girls and Women) there is lurking beneath the commonplace and familiar a realm which connotes suspicion, evil, and hate. This is made manifest in the horrid grotesqueries Del Jordan reads of in Lives, in Patricia Parry's accidental scalding of her brother Benny, causing his death, in "The Time of Death," and most tellingly in Patricia's outburst upon hearing the "scissors-man" coming down the road: she is reminded of Benny's death by his cry: "a madman loose in the world." Macdonald does not see this bleak vision as strongly in Something I've Been Meaning to Tell You.
C40 Mallinson, Jean. "John Robert Colombo: Documentary Poet as Visionary." Essays on Canadian Writing, No. 5 (Fall 1976), p. 70. Rpt. in Brave New Wave. Ed. Jack David. Windsor: Black Moss, 1978, p. 21. Mallinson sees the "mode of inventory as transfiguration" in the works of Munro and John Robert Colombo. Munro is "a visionary documentary writer," whose "raw material is the world of her own experience."
C41 Gros-Louis, Dolores. "Pens and Needles: Daughters and Mothers in Recent Canadian Literature." The Kate Chopin Newsletter, 2, No. 3 (Winter 1976-77), 8-15. Gros-Louis uses Munro's Lives of Girls and Women as a point of departure for an examination of four books by Canadian women writers: Lives of Girls and Women, Margaret Laurence's A Bird in the House, Fredelle Bruser Maynard's Raisins and Almonds, and Audrey Thomas' Songs My Mother Taught Me -- all of which are written in the tradition of the Bildungsroman. Each writer stresses "a definite sense of just how different it was to grow up female, rather than male, during the 1930's and 1940's." As role models, the mothers are all "trapped by society's and their own view of what a young woman should do with her life." Each of the books, too, is a female Kunstlerroman. Though tempted by their mothers' mode of life, these women "transcend the marriage goal that was their mother's." The article is largely descriptive and stresses the autobiographical aspect of these books.
C42 Hancock, Geoff. "Here and Now: Innovation and Change in the Canadian Short Story." Canadian Fiction Magazine, No. 2-7 (1977), pp. 5, 7, 15, 16. Hancock suggests some classifications of the "attributes and deficiencies in the Canadian short story" and feels Munro's use of Realism places her in the "mainstream of Canadian fiction." She knows how to "orchestrate the 'and then, and then' of an event from a strictly controlled point of view," and her work treats experience directly in her characters' confrontations with particular situations. Like other works of fiction in the 1950s and 1960s, her prose is devoid of sentimentality and is "restrained, compressed and objective."
C43 McClung, M. G. Women in Canadian Literature. Preface George Woodcock. Women in Canadian Life. Toronto: Fitzhenry & Whiteside, 1977, pp. 59-60, 63. McClung notes that Munro uses aspects of her own background as material for her fiction. In Dance of the Happy Shades, she concentrates on "evoking the psychological realities of small-town life." Lives of Girls and Women as a series of related episodes in the life of Del, who is set apart from others by her intelligence and her eccentric mother. Munro reveals a deep understanding of the relationships between men and women in Something I've Been Meaning to Tell You.
C44 Moss, John. "Alice in the Looking Glass: Lives of Girls and Women." In his Sex and Violence in the Canadian Novel: The Ancestral Present. Toronto: McClelland and Stewart, 1977, pp. 54-68. Moss emphasizes Munro's "double-vision" in Lives of Girls and Women, noting that the "point of view is a crucial consideration in reading" it "as a portrait of the artist." In the work "creator and created [world] merge." To demonstrate this point, Moss briefly discusses selected early stories: "Munro does not simply tell a story from a particular perspective in time but includes the experience of the intervening years implicitly in the tones and attitudes of the narrating voice; and sometimes briefly intrudes as if from another reality, creating dimensional resonance like the echoes of memory within the reader's mind." In Lives of Girls and Women, "Del is going to be the writer that Alice Munro becomes," so "Del seems always to be watching her life unfold from a third person vantage point, even while living it." Her story is that of an artist obtaining "freedom, control and full consciousness of self" within "Munro's evocative presentation of growing up which provides the narrative framework." We watch Del "come into possession of what and who she is." Moss demonstrates these observations through a close reading of the text.
C45 Monaghan, David. "Confinement and Escape in Alice Munro's 'The Flats Road.' "Studies in Short Fiction, 14 (Spring 1977), 165-68. Through the lack of continuous narrative in Lives of Girls and Women, Munro is able to concentrate on Del Jordan's "crucial experiences that erode her sense of freedom." The effect of this technique, for the reader, "is of a world in which the individual is gradually, but increasingly, entrapped within a cage constructed from the realities of death, family background, religion, love, and sex."
C46 Smith, Rebecca. " 'The Only Flying Turtle Under the Sun,' The Bildungsroman in Contemporary Women's Fiction." Atlantis [Acadia Univ.], 2, Part II (Spring 1977), 126, 127, 129, 130, 131, 132. Smith includes Lives of Girls and Women in a list of novels dealing with "the growth of major women characters towards personhood." Although Bildungsroman usually refers to a novel concerning a man, she feels these books are legitimate examples of the Bildungsroman. Del's intelligence is noted, along with her difficulty in choosing between her true feelings and her "public role." The conclusion of Lives of Girls and Women presents Del as having to cope with "new-found freedom, power, relative fearlessness and unlimited potential."
C47 Allentuck, Marcia. "Resolution and Independence in the Work of Alice Munro." World Literature Written in Enghsh, 16 (Nov. 1977), 340-43. Munro is preoccupied with "the emotional dependence of women." By quoting from Munro's first three books, Allentuck describes the ways in which this preoccupation is manifested in the fiction, especially in Lives of Girls and Women and the short story, "The Office." She also attempts to define parallels between Munro and both Mary Wollstonecraft and Virginia Woolf.
C48 Ricou, Laurie. Editorial. Canadian Short Story Magazine, 3, No. I (Winter 1977), pp. 1-2. In this general overview of the contemporary Canadian short story, Ricou notes that, increasingly, "the short story is conceived not only as a thing in itself but also as a part of a larger whole." Several Canadian examples are cited of the "sequence-of-stories-as-novel" -- by Margaret Laurence, Clark Blaise, Merna Summers, Alice Munro, Alistair MacLeod, Margaret Gilboord, and Alden Nowlan. Lives of Girls and Women has "the loose and episodic structure" of the short story collection. The growth of this trend is aided and abetted by publishers.
C49 Blodgett, E. D. "Prisms and Arcs: Structures in Hebert and Munro." In Figures in a Ground: Canadian Essays on Modern Literature Collected in Honor of Sheila Watson. Ed. Diane Bessai and David Jackel. Saskatoon: Western Producer Prairie, 1978, pp. 99-121, 333-34. Rpt. (revised) in Configuration: Essays in the Canadian Literatures. By E. D. Blodgett. Downsview, Ont.: ECW, 1982, pp. 53-54, 66-74, 78-84. While Hebert uses the house in a metonymical manner, Munro uses it metaphorically. It "provides a theatre for the various times that interior time circles around. . .and Munro's houses are always somewhat rundown by time. So far from being prisons to escape, they draw one toward possible discoveries and .... to use one of Munro's key words, revelations." Munro has an "ambiguous sympathy" for houses, and in "The Idyllic Summer" and several other stories she employs the house as a means of double focus in each character's different reaction to it is an indicator of character. Blodgett demonstrates that Munro uses the figure of the house "as a contrastive mode of narrative organization, of change, [and] of meditation" consistently throughout her stories. In "The Peace of Utrecht" and Lives of Girls and Women, the house is a maze through which the character obtains revelation by exploration -- in time as well as in space. Thus Helen in "Peace" is returning to her younger self-backtracking--through the memories occasioned by her girlhood home; and Del Jordan, by way of her changing perspective, sees her Uncle Benny's house "as a key figure suggesting various kinds of failures, things groped for and never fully realized or understood." The house's metaphoric quality allows Munro a multitude of perspectives.
C50 [Conron, Brandon.] "Alice Laidlaw Munro." In They Passed This Way: A Selection of Citations 1878-1978. Ed. and introd. Robert N. Shervill. Foreword D. Carlton Williams. London: Univ. of Western Ontario, 1978, p. 113. A brief excerpt from "Dance of the Happy Shades" illustrates how Munro uses everyday experiences to transform "a person or location into a universal symbol." Following a short biography, Conron notes that Munro treats a wide variety of themes with "quiet humour, gentle irony, and compassionate understanding." Her originality lies in not only her technical innovations and her "profound interpretation of the atomic age," but also in her "sensitive insights into the enduring human condition."
C51 Hancock, Geoff. "Foreword: Maps, Geography and the Canadian Short Story." In Transitions in Short Fiction; A Source Book of Canadian Literature. Ed. Edward Peck. Vancouver: CommCept, 1978, pp. [iii, iv, v]. Munro's "The Office" suggests that the survival of literature is a miracle and "art is suspect." The story is classified as Realistic, and Hancock notes that it is related in chronological time.
C52 Moss, John. Introduction. In Here and Now: A Critical Anthology. Vol. I of The Canadian Novel. Ed. John Moss. Toronto: NC, 1978, pp. 7, 8-9, 10, 12, 13. Moss begins by observing that while Munro's prose is "clear and uncluttered," she is an enigmatic writer. He sees in her writing "the quality of heightened realism, or magic realism, or . . . 'perceptual realism.' "After noting that her work encourages the analysis of content, rather than form or style, he praises her rarely discussed "subtle genres with language and narrative technique."
C53 Owen, Ivon, and Morris Wolfe. Introduction. In The Best Modern Canadian Short Stories. Ed. Ivon Owen and Morris Wolfe. Edmonton: Hurtig, 1978, pp. 8, II. Comparing this anthology with one published in 1960, the authors note that although "regionality is still strong," authors like Munro are now using different parts of the country in their stories. She is also among those authors creating characters--like Hugo in "Material"--who are "terrified only of the mediocre."
C54 Packer, Miriam. "Lives of Girls and Women: A Creative Search for Completion." In Here and Now: A Critical Anthology. Vol. I of The Canadian Novel. Ed. and introd. John Moss. Toronto: NC, 1978, pp. 134-44. Packer provides a character study of Del Jordan which follows her expanding consciousness. Munro dramatizes Del's search for "sexual and creative fulfillment." In this search, Del learns "what she does not want to be," and so Packer sees her "formulating values in response which will enable her to live more fully than the women around her manage to do. While at the end of the novel Del has not developed her sensibility fully, there is every indication that she will and, when she does, she will inevitably return -- artstically and psychologically -- to Jubilee. Thus, as the novel ends, Del has taken her first major step along her "creative search for completion."
C55 Smyth, Donna. "A Sense of Community: Women's Studies in Canada." Emergent Literature Art. Guest ed. James Carley [Book Forum, 4, No. I (1978)], 137-38. Smyth mentions Munro as one of several Canadian women writers who are "highly visible and successful." She suggests that a list of authors to be studied in a Canadian literature course would have to be comprised of at least fifty percent women.
C56 Wallace, Bronwen. "Women's Lives: Alice Munro." In The Human Elements: Critical Essays. Ed. David Helwig. Ottawa: Oberon, 1978, pp. 52-67. Rpt. (excerpt--"Men, Women, and Body English in Alice Munro") in Books in Canada, Aug.-Sept. 1978, p. 13. A personal reading of Munro's fiction which depicts "a feminist perspective in the sense that it explores primarily the way in which Munro presents the experiences and perceptions of women; it recognizes that her writing is powerfully centred in her understanding of her own experience as a woman." Wallace then examines the various female roles available in Munro's fiction -- girl, daughter, sister, wife, lover, mother, ex-wife--and concludes that these roles are presented "in all the strangeness and commonness of their particular situations. [Munro] acknowledges them, allows them even, in a way that gives us the chance to acknowledge them -- these many women we are and could possibly be--in ourselves."
C57 Adachi, Ken. "Ahce Munro Puts Her Pen to Script for CBC-TV Drama." Toronto Star, 6 Jan. 1978, p. D3. Small towns are an obsession of Munro's; she likes small-town life. Adachi summarizes her biography. Writing the script for CBC TV'S The Newcomers/Les arrivants series (see B93) "was really quite different from anything" Munro had done before. She used Susanna Moodie as a source since Moodie said "some awful things about the Irish." Munro brings the texture of her fiction to the script. She does not think she will be writing scripts as a new focus, however, since she cannot exert enough control. Munro sees herself primarily as a short story writer--Lives of Girls and Women "is really a collection of self-contained stories linked by a common setting and narrator." It is not really a novel. Munro does not think she has developed, that she has written the same kind of stories all along. Adachl says she deserves the praise she has received.
C58 Ross, Malcolm. "The Ballot." The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 18 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont: ECW, 1982, pp. 139, 140, 151. Ross notes that the first ten or twelve novels were "closely ranked," but by the "time you get to Lives of Girls and Women, the point total has dropped from 364 to 268." Lives of Girls and Women is noted as close to the top ten and included in the top one hundred.
C59 Dawson, Anthony B. "Coming of Age in Canada." Mosaic, II, No. 3 (Spring 1978), 47-49, 53, 55-59, 61. Dawson argues that Lives of Girls and Women reveals a movement "from definiteness to indefiniteness." Del Jordan is seeking "a pattern of language that will fit the myriad facts of Jubilee," and her seeking takes the form of both a transcendence (literary as well as sexual) and a recognition of an inheritance. "Del comes of age as a writer in the last section of the book, as she has come of age, first as a being made of flesh in 'Heirs of the Living Body,' and as an extension of that, as a sexual being in 'Baptizing.' But her achievement . . . is ambiguous, tinged with self-irony, tentative."
C60 Irvine, Lorna. "Hostility and Reconciliation: The Mother in English Canadian Fiction." The American Review of Canadian Studies, 8, No. I (Spring 1978), 56-62. Irvine discusses "the material past" in several modern Canadian writers. Concerning Munro, Irvine briefly discusses "The Peace of Utrecht," "Red Dress--1946," "Executioners," and "Boys and Girls" in terms of "the struggle for autonomy" between daughter and mother (see C117).
C61 Dahlie, Hallvard. "The Fiction of Alice Munro." Ploughshares, 4, No. 3 ([Summer] 1978), 56-71. An introduction to Munro's fiction, which, Dahlie argues, is "rooted tangibly in the social realism of the rural and small town world of [Munro's] own experience, but it insistently explores what lies beyond the bounds of empirical reality." Dahlie sees a pattern in the fiction: terror or desperation lurk just beyond the boundaries of Munro's empirical reality--this accounts for the grotesque or gothic elements in some of her work. Also, Munro sees in people "an intangible talent or gift .... for intuiting a move or an action which will get them out of a present predicament." Her characters thus appear sometimes to bump into salvation "rather than consciously elect it." Dahlie sees Munro's writing moving consistently "beyond realism" and also in the "comic mode"; additionally, he discusses "Characters" (B37), which appeared in the same issue of Ploughshares.
C62 Macdonald, Rae McCarthy. "Structure and Detail in Lives of Girls and Women." Studies in Canadian Literature, 3 (Summer 1978), 199-210. Macdonald examines Del's development from chapter to chapter, each of which presents a crisis which impinges on that development, in concert with "the little details of day-to-day life that Munro amasses with such care." Thus Uncle Benny and Ada are discussed in relation to their function as role models for Del in " 'The Flat Roads [sic],'" Benny connoting " 'the other country' " and Ada "the garrison." Macdonald ultimately concludes that the novel "is constructed from chapter to chapter around a series of parallel crises in which Del Jordan must make a decision between 'the world' and 'the other country.' "The "one basis for optimism lies in. . . [Del's] final decision to leave Jubilee and in the fact that all of Lives of Girls and Women is told, without the benefit of hindsight, by an older Del who has presumably recovered her novel and its vision. This later novel is Lives of Girls and Women itself, less gothic and simplistic in its distractions than the one Del is writing and, therefore, a truer revelation of Munro's divided world."
C63 Conron, Brandon. "Munro's Wonderland." Canadian Literature, No. 78 (Fall 1978), pp. 109-12, 114-18, 120-23. Conron provides an overview of Munro's work to date, including individual stories, personal comments, and influences. He praises her style and her ability to present "the exact texture of surfaces." Conron concludes that Munro's writing "is original, not for its technical innovation of interpretations of the atomic age, but rather for its fragile insights into the complexity of personal relationships. Her narrators spring from an imaginative, intelligent and unpretentious individuality to which fiction is a natural recourse. They are independent, absorbing, and realistic expressions of the profound disturbances and magic of ultimate human reckonings."
C64 Harvor, Beth. In "'My Craft and Sullen Art': The Writers Speak. Beth Harvor." Atlantis [Acadia Univ.], 4, (Fall 1978), 147, 148-49. Within a discussion of a "feminist tradition in literature," Harvor compares Claire Martin's In an Iron Glove with Lives of Girls and Women, seeing both as relating the experiences of emerging female artists. She regards Del as a much-loved daughter who suffers the "enriching embarrassment" of her mother and who is "allowed to be a sexual being." Equating Del Jordan with Munro, Harvor concludes that "it is at least partly because Munro was allowed her own explorations in the realities of sex and faith that she has become one of the major writers on sexual feelings in the country, in this century."
C65 Shields, Carol. In "'My Craft and Sullen Art': The Writers Speak. Carol Shields." Atlantis, 4 (Fall 1978), 151-52. Munro writes about what it means to be a woman. She "deals not with problems of civil rights but with the more central issue which is the struggle of the feminine spirit to survive." "Boys and Girls" examines the compromises made by women who surrender power to men "in order to remain human."
C66 Dombrowski, Eileen. " 'Down to Death': Alice Munro and Transcience [sic]." The University of Windsor Review, 14, No. I (Fall-Winter 1978), 21-29. An analysis of the theme of death and mutability in Munro's work. Dombrowski emphasizes Munro's technique of flashbacks and flash-forwards as a means of allowing the reader a much greater understanding of the theme's working in such stories as "Dance of the Happy Shades," "The Peace of Utrecht," "Winter Wind," and "The Ottawa Valley," and in Lives of Girls and Women. Munro's books "are thus her monument to mutability, but at the same time her stand against it" is like Del Jordan's--Munro, like her protagonist, tries to catch every detail of life in her writing as a means of forestalling the inevitable.
C67 Martin, W. R. "Alice Munro and James Joyce." Journal of Canadian Fiction, No. 24 ([1979]), pp. 120-26. Martin notes and discusses the parallels between Dance of the Happy Shades and James Joyce's Dubliners. Shape, setting, and atmosphere correspond, and both "Dance of the Happy Shades" and "The Dead" share very pronounced similarities: the presence of music teachers, parties, and a constrained and embarrassed narrator. "The Peace of Utrecht" also echoes Joyce's "The Dead," as does the snow scene at the end of "The Time of Death." Martin points out parallels between Lives of Girls and Women and A Portrait of the Artist as a Young Man. "In the first [book Munro] took some rays from one of the brightest beams in modern literature and used them for her own purposes. In her second book the similarities are sunk in the differences, because her genius is alight and burning brightly with its own individual flame."
C68 Oates, Joyce Carol. Introduction. In The Best American Short Stortes 1979. Ed. Joyce Carol Oates and Shannon Ravenel. Boston: Houghton Mifflin, 1979, pp. xi-xxii. Oates writes that in the story "Spelling" (B36), which she selected as one of the year's best, Munro's "... art disguises itself in artlessness." Whereas in Munro's earlier works she "summed up a life in carefully chosen scenes," now "... life is reduced to a gesture or two, and emotion is withheld." Her stories are "strange, unsettling," "naturalistic works so intensely evoked, with so little apparent sentiment, that they have the passionless force of prose poems, in which images, not characters, are drawn."
C69 Bailey, Nancy I. "The Masculine Image in Lives of Girls and Women." Canadian Literature, No. 80 (Spring 1979), pp. 113-18, 120. In Lives of Girls and Women "Munro demonstrates that the masculine image as understood by Jung is as much a part of the growth of Del's creative identity as it is of her physical and sexual nature." Bailey analyzes Del's decision to "go out and take on all kinds of experiences," as men were able to do, in terms of Jung's theory of individuation. The male characters--Del's father, brother, Uncles Benny, Craig, and Bill -- are content in a way which Del finds impossible in her strivings to fathom; the men are happily independent of women while the women are totally dependent. At the same time, Del realizes that this contentment is achieved at the cost of considerable imbalance in the men's lives. Thus "the masculine portraits" in Lives of Girls and Women "are sound demonstrations of the way the female consciousness interacts with the male at different levels of being."
C70 "Two Plus Two: Munro Wins Second Governor-General's Award." The London Free Press, 21 March 1979, p. A10. This piece announces that "Alice Munro of Clinton is to receive her second governor-general's award for literature for Who Do You Think You Are?. In 1978 Munro became the first Canadian to win the Canada-Australia literary prize."
C71 "Twice Honored." The London Free Press, 22 March 1979, p. A6. Munro's second Governor-General's Award for literature (Who Do You Think You Are?) is "well-deserved. Still, it's ironic that . . . Canada's highest literary honor . . . [doesn't] seem to help writers to pass the moral litmus test being applied to high school reading lists in some parts of the country."
C72 Cohen, Matt. "The Rise and Fall of Serious CanLit: The Golden Years May Be Over." Saturday Night, May 1979, pp. 39, 40. In a discussion of the "explosion of new fiction" in the early 1970s, Cohen notes that "Books by such writers as Alice Munro and Margaret Laurence became popular successes." Lives of Girls and Women's "baroque style corresponds with the flowering of Victorian sensibilities."
C73 Ward, Ohvla. "Men Are Suffering, Too." Sunday Star [Toronto Star], 6 May 1979, p. D5. Because of the responsibilities of her children, Munro did not think of herself as a writer until she was thirty-five. Although she feels that "any woman who tells the truth about herself is a feminist," she thinks fiction and politics do not mix. She recalls feeling very different from other people as a child and is now very protective of her privacy. Ward traces Munro's life from her childhood in Wingham to the West Coast and back to South-Western Ontario. Her development as a writer was slow and painful, and Munro is still surprised whenever one of her stories is accepted for publication.
C74 DeSalvo, Louise. "Literature and Sexuality: Teaching the Truths About the Body." Media & Methods, Sept. 1979, pp. 32, 64-67. Teachers avoid rather than focus upon sexual themes in literature, and, by so doing, they miss the opportunity to discuss in a realistic manner the actual implications of sexuality. DeSalvo cites Romeo and Juhet as a work the sexual implications of which are usually ignored, or glossed over by its "classic" status. "We need to teach" students "the truth (or truths) about the body. . .and about the interrelationship between their emotional, intellectual, physiological, and sexual selves." Lives of Girls and Women does this; it "depicts a heroine taking control over her life"; it "tells the truth about the body explicitly and beautifully." In this regard, it "is a stunning achievement." DeSalvo treats Del's growing awareness of sex and later her initiation into it through an explication of her relationships with Uncle Benny, Fern, Mary Agnes, Mr. Chamberlain, and, finally, Jerry Storey and Garnet French. Lives of Girls and Women is a paradigmatic text for teaching sexual awareness with understanding and real respect.
C75 [Fulford, Robert.] "This Month: The Past, the Present, and Alice Munro." Saturday Night, Nov. 1979, p. II. Fulford notes that, though Munro wrote in relative obscurity for many years, her stories, "grave, solid, and solemnly beautiful, have been part of the landscape of Canadian letters through the 1970s." After tracing the publication history of her books, he points out that she has fictionalized rural South-Western Ontario just as Mordecai Richler, Margaret Laurence, and Morley Callaghan have chronicled other areas of the country. In a Munro story, there is "a process involving memory and perception and self-understanding on the part of both the reader and writer." Munro excells in "relating the urban present moment of Canada to the rural past that produced what we are now."
C76 Knelman, Martin. "The Past, the Present, and Alice Munro." Saturday Night, Nov. 1979, pp. 16-18, 20, 22. Knelman concentrates on Munro's accomplishments. He mentions the changes Munro made to Who Do You Think You Are? while it was in press. She added a story, removed others, and changed the entire structure of the book. Her development as a writer is chronicled from her early attempts in high school to the present.
C77 Fleenor, Juliann E. "Rape Fantasies as Initiation Rite: Female Imagination in Lives of Girls and Women." Room of One's Own, 4, No. 4 ([Winter] 1979), 35-49. A reading of Lives of Girls and Women in conjunction with the literature of female initiation rites. Del's "rape fantasy is the underlying structure of the novel, existing under the linear narrative, and it is through the rape fantasy that Del survives as a whole person and as an artist. The rape fantasy is the means by which Del survives the patriarchial system presented in the linear narrative." Fleenor's discussion hinges on the various female alternatives available to Del: she can marry Garnet French, and ultimately either submit to him or dominate him as his mother does his father, she can deny sexual relations like her mother, or she can flee. Because Munro's style makes these alternatives so apparent in the novel, Fleenor sees it as the basis for the underlying rape fantasy. Del's initiation into female sexuality by Garnet French is both a rite of initiation and a rape fantasy "in two senses, abduction and sexual intercourse. She has been abducted from the world of her mother, the asexual, superficially intellectual world of memorized facts and dates, and she has concretely experienced the joinlng of two natures, the intellectual and the emotional, which Addie had put asunder." Through her sexual initiation, Del has to choose between its elemental, mythic qualities -- connoting experience -- and the non-sexual withdrawal of her mother. In "Baptizing," Garnet French has confused fantasy with reality -- Del does not, recognizing the fantastic side to their relationship (physical, non-articulate), and so successfully fights his attempts to baptize her. The novel, ending with Del saying "yes," emphasizes the affirmation Munro intends over her knowledge/experience. Del escapes both her mother's dominion and that intended by Garnet--she is, as in a rape fantasy, in control.
C78 Ross, Catherine Sheldrick. "Calling Back the Ghost of the Old-Time Heroine: Duncan, Montgomery, Atwood, Laurence, and Munro." Studies in Canadian Literature, 4 (Winter 1979), 56-58. Ross discusses the use of the "old-time romantic heroine" in modern Canadian fiction by women. She notes how Del Jordan sees herself in the role of the romantic heroine In Lives of Girls and Women but that, in facing her life away from Jubilee at the novel's end, she puts such romantic ideals to rest. Ross concludes that "organizing the realistic surface are the underlying designs of the stories taken from myth and fairy tales."
C79 Bowering, George. "Modernism Could Not Last Forever." Canadian Fiction Magazine, Nos. 32-33(1979-80), p. 4. Within a discussion of Realism and Naturalism in Canada, Bowering lists Munro as one of the "serious novelists" who "tell the normal realist story of [a] sensitive child growing up to be [a] disillusioned but wisely maladjusted adult; the most personal proof of cause & effect."
C80 Carscallen, James. "Alice Munro." In Profiles in Canadian Literature 2. Ed. Jeffrey M. Heath. Toronto: Dundurn, 1980, pp. 73-80. Carscallen provides a broad overview of Munro's work which points to salient features he sees in the writing -- form, character, and the relevance of the Bildungsroman -- to name three examples--and then guides the reader through the various possible interpretations. In discussing these, Carscallen points up the reminiscent quality of Munro's art and argues that its power arises from her ability to isolate and articulate "the typical detail," details which "sum up the reality it belongs to." Such details are presented unassumingly: ". . . she is observing what is there, honestly and accurately, not working" her material into some artificial form. Her art is based not so much on plot but upon these details, her ability to make a reader say " '... that's just what does happen -- that's just the way it is.' " Because Munro's art is based on the commonplace, the everyday, the sensitive reader must allow her stories to suggest correspondences, both within themselves, and between the worlds they define and our own.
C81 Denham, Paul, and Mary Jane Edwards. "Alice Munro." In Canadian Literature in the 70's. Ed. Paul Denham and Mary Jane Edwards. Toronto: Holt, Rinehart and Winston, 1980, pp. xii, xx, 35-37. Lives of Girls and Women and Who Do You Think You Are? are described as linked short stories, developing as "constellations of significant events rather than as continuous narratives." The autoblographical content and rural landscape of Munro's fiction is noted. Her work reflects her concern with "the mysterios inherent in the ordinary," and with the relationship between art and life. A brief bibliography and list of selected criticism follows.
C82 Grady, Wayne, ed. and introd. The Penguin Book of Canadian Short Stories. Harmondsworth, Eng.: Penguin, 1980, pp. v-vi, 298. Within a discussion of the history of the Canadian short story, Grady notes that its most characteristic feature is realism. Writers like Munro produce works that are constdered "semi-autobiographical" in nature. Linked short stories such as in Who Do You Think You Are? are also common among Canadian short story writers. Grady then provides a brief biography and bibliography of Munro, stressing the influence of writers from the American South on her work. He suggests that her four books form a "kind of quartet" and the "result is a remarkable organic unity comparable to that achieved by impressionist painters.'"
C83 Metcalf, John. Introduction. In New Worlds: A Canadian Collection of Stories with Notes. Ed. John Metcalf. Toronto: McGraw-Hill Ryerson, 1980, pp. 7-9. Metcalf uses "Boys and Girls" to demonstrate how fiction takes the reader into a particular world, one defined by the texture of its language.
C84 Metcalf, John. "Questions about the Stories." In New Worlds. A Canadian Collection of Stories with Notes. Ed. and introd. John Metcalf. Toronto: McGraw-Hill Ryerson, 1980, pp. 162-64. Metcalf develops his ideas on the way in which the writer causes "other people to feel and see." In "Boys and Girls" Munro is far more concerned with "showing" than she is with telling.
C85 Mills, John. "Part IV: Contemporaries. Preface." In his Lizard in the Grass. Downsview, Ont.: ECW, 1980, p. 133. Munro, among others, is one of "these doubtless worthy people [who] seems a notch or two above the abysses established by the Old Guard."
C86 Hoy, Helen. "'Dull, Simple, Amazing and Unfathomable': Paradox and Double Vision in Alice Munro's Fiction." Studies in Canadian Literature, 5 (Spring 1980), 100-15. A stylistic analysis of Munro's work, emphasizing the way in which rhetorical opposites and paradoxes operate co-equally in the writing and so underscore "the juxtaposition, in the action, of the fantastic and the ordinary." Stylistically, verbal paradox (especially cryptic oxymoron)"functions particularly as a means of definition, of zeroing in on the individual qualities of an emotion or moment." Citing Coleridge, Hoy sees in Munro's style a "persistent 'balance or reconcilement of opposites or discordant qualities.' "Thus children in Lives of Girls and Women "celebrate a hurt," while the narrator in "Material" speaks of "such brilliant, such talented incapable men," and goes on to say "I envy and despise." Munro's technique, "the matter-of-fact union of incompatible tendencies," is a way of "bringing life, precision, and complexity to her depiction of emotions generally."Citing numerous examples from Munro's work (both early and more recent), Hoy argues that Munro's technique of rhetorical opposition is an extension of her perspective. Like one of her characters in Who Do You Think You Are?, Munro sees "too many sides of things" and "it is this complexity of vision which informs both themes and style in her fiction."
C87 "Craft Tidbits." Books in Canada, June-July 1980, pp. 4,5. An article dealing with the results of a questionnaire concerning writers includes quotations from Munro. Responding to a question about the problems facing Canadian writers, she says that "producing something even reasonably good is always a writer's main problem. There is a special Canadian problem--avoiding the peculiar attention you get in this country." She also points out that it is "not my business as a writer" to suggest what distinguishes Canadian writing from that of other countries.
C88 "Munro, Laurence Net Book Honors." The Globe and Mail, 28 Oct. 1980, p. 19. The article notes that Munro's Who Do You Think You Are? won first prize as best English- language fiction paperback of the year.
C89 Djwa, Sandra. "Deep Caves and Kitchen Linoleum: Psychological Violence in the Fiction of Alice Munro." In Violence in The Canadian Novel Since 1960/dans le roman Canadien depuis 1960. Ed. Virginia Harger-Grinling and Terry Goldie. St. John's: Memorial Univ. [1981], pp. 177-90. Partly, Canadian writing is non-violent because it never had the Naturalist phase which helped introduce sordid themes to American fiction. But Munro's major influences were Americans, principally Southerners like Faulkner. While in her early work violence is not just that of the act, but of "the psychological response to it," her more recent fiction is more openly a "war of the sexes." There is also a Gothic element in Munro which is new to English-Canadian writing but recognizably in the Southern tradition.
C90 Hancock, Geoff. "An Interview with John Metcalf." Canadian Fiction Magazine, No. 39 (1981), pp. 109, 120, 123. Rpt. ("Communique: Interview with John Metcalf--February 16, 1981") in Kicking Against the Pricks. By John Metcalf. Downsview, Ont.: ECW, 1982, pp 13, 24, 28. Metcalf notes that Munro "drew on Southern writers to create her vision." Munro's publisher probably put pressure on her to sequentialize her short stories. Munro's Mrs. Clegg is perfectly named and her description of her as "'unfresh'" is "a masterly word!"
C91 Moss, John. A Reader's Guide to the Canadian Novel. Toronto: McClelland and Stewart, 1981, pp. 215-19,354, 355, 358, 362, 363, 372, 375,377, 378. Munro's fiction has had a great impact on "the developing trend in Canada of what might be called hyper-realism or super-realism." Realism is "elevated and intensified" in her work. In Lives of Girls and Women, Del "follows a universal pattern in the phases of her growing up," and much of the structure of the novel concerns her "evolving sexuality." In Who Do You Think You Are?, Munro relates the story of a woman's struggle for independence. Moss discusses the structure of this work and dismisses the term "linked short stories" as inappropriate since it does not reflect the organic wholeness of the book. Munro's books are also included under various categories in the Appendix.
C92 "Literary Tour of China." Canadian Author & Bookman, 56, No. 4 (Summer 1981), 8. The article notes that Munro and others went to China in June as part of an official Literary Exchange. See B84.
C93 Mallet, Gina. "A Good Time to Be a Canadian Writer." Toronto Star, 20 Oct. 1981, pp. FI, F3. A personality profile in which Munro comments on the short story as genre, getting published in The New Yorker, and being a Canadian writer. Munro says she is not consciously Canadian, but she recognizes that she "'wouldn't get half this amount of recognition'" if she were an American writer with the same number of readers and sales. Likewise, Munro does not think of herself as a woman writer, although she is a feminist in " 'all kinds of practical ways.' " But she does not " 'think fiction is anything you make serve any cause at all.' "
C94 Grady, Wayne. "Story Tellers to the World: Canadian Short Story Writers Are Producing the Literature of the 21st Century." Today, 5 Dec. 1981, pp. 10-12. The book of linked short stories--like Lives of Girls and Women--is a "form of literature that is uniquely stated to the Canadian experience" because it reflects the different Canadian regions, whereas the novel is a product of a unified "nation." After noting the international status of Canadian short stories, Grady traces the development of the form in Canada. He also provides a brief biography and bibliography of Munro, noting her use of the rural landscape of Ontario.
C95 "A Genius of Sour Grapes." Editorial. Wingham Advance Times, 16 Dec. 1981, n. pag. This piece comments on a recent article in Today magazine (C943, saying "Sadly enough Wingham people have never had much chance to enjoy the excellence of [Munro's] writing ability because we have repeatedly been made the butt of soured and cruel introspection on the part of a gifted author." The article disputes the accuracy of Munro's claim that the Lower Town section of Wingham contained "bootleggers, prostitutes, and hangerson" and the view of Huron county presented in the Today article as "stultifying": "If small town life, [sic] is so stultifying, we wonder why Alice finally chose to leave one of the few interesting cities in Canada (Victoria) to return to Huron county?" The author acknowledges Munro's talent, but concludes "that something less than greatness impells her to return again and again to a time and a place in her life where bitterness warped her personality. Surely there are more noble themes than real or imagined injuries suffered 35 years ago."
C96 Martin, W. R. "The Strange and the Familiar in Alice Munro." Studies in Canadian Literature, 7 (1982), 214-26. Martin argues that Munro's work "deals with oppositions, contraries, tensions, inconsistencies, and then resolutions, implied or achieved; in literary terms the oppositions produce ironies and paradoxes, but also moments of vision in which the oppositions are reconciled, at least in the imagination." Munro, "like Coleridge . . . makes the strange familiar, and, like Wordsworth, she makes the familiar wonderful ...." Martin also draws literary parallels to Sidney, Dr. Johnson, Blake, Conrad, Joyce, T. S. Eliot, and Yeats. The "strange familiar" aspect of Martin's argument is demonstrated by analyzing selected passages from "Walker Brothers Cowboy" and Lives of Girls and Women; these "show us a young girl. . . entering into a full human consciousness of her life in time and space." The "familiar wonderful" part of the argument is demonstrated by an analysis of "Royal Beatings," focusing on Rose's consciousness of the other characters.
C97 Metcalf, John. Kicking Against the Pricks. Downsview, Ont.: ECW, 1982, pp. 51, 93, 151-52, 153, 163, 168. Munro has "a large feminist following." She "is not a 'realist'; she is a marvellously poetic writer . . . [and] a very painterly writer." Munro's reading of "Images" on CBC Radio made Metcalf "envious, excited, and amazed." "Her work has suffered at the hands of dim feminists who have quarried it for ammunition and who have, inevitably, diminished it as literature. When Alice Munro turned out not to be a prophet of escalating sexual violence or indeed a propagandist of any sort, the more volatile in her following drifted away."
C98 Woodcock, George. Northern Spring: The Flowering of Canadian Literature in English [pamphlet]. Introd. Victor Howard. Images of/du Canada, No. I. Washington, D.C.: Canadian Embassy, 1982, p. 7. The short story genre "re-emerged with vigour in the 1960s in the hands of writers like Alice Munro . . . , W. D. Valgardson and W. P. Kinsella."
C99 Kuropatwa, Joy. "An Overlooked Canadian Realist." Rev. of Short Stories of Thomas Murtha, by Thomas Murtha, ed. and introd. William Murtha. Brick, No. 15 (Spring 1982), p. 36. In a review of Thomas Murtha's stories, Kuropatwa compares Murtha's Realism to Munro's. Although Murtha does not depict a particular small town, as Munro does, Munro can be viewed as a "literary descendant of Murtha. Both depict a smooth-surfaced reality underlain by wrenching events . . . ; the realities of place are established through speech, description of landscape . . . [and] both employ the techniques of literary realism. And both authors look at outsiders that are in a small town, but in one way or another considered not of it." Kuropatwa compares two of their stories. Munro's work "has been connected with that of Faulkner" and Murtha's review of The Sound and the Fury points to this connection as well.
C100 Wayne, Joyce. "Huron Country Blues." Books in Canada, Oct. 1982, pp. 9-12. Munro has been praised, though like all of her narrators she was taught never to seek praise. She is arguably "Canada's most extraordinary and accomplished fiction writer." Munro is not popular in Wingham -- she has told all, "the country gossip tattling her tales to city folk." The Wingham paper responded to comments about the area Munro made--the battle between Munro and Wingham rages on. It is as if she can't live with Wingham and she can't live without it. Huron County is her source." The incidents of Del's life, of Rose's life, are not Alice Munro's experience, but the core is. The balance of the essay is biographical, describing Munro in tandem with Huron County. Wayne also describes selected stories from The Moons of Jupiter, quoting Munro: " 'It is as if we have two lives. Of course we take the life of action because everybody does, but there is another life, steady and continuous that goes on another level.'" That is how Munro has depicted her home--she is a girl from Huron County.
C101 Gervais, Marty. "She's a Person First." The Windsor Star, 26 Oct. 1982, p. C9. This profile discusses Munro's willingness to participate in book promotion tours, but her uneasiness, because of the inevitable focus on the personality of a fiction writer. She "disciplines herself [when on tour] by writing each morning." Gervais notes that she "at first. . . appears uneasy, vulnerable, wary," when she is to be photographed, but, with so many awards behind her, she relaxes -- "cool as a cucumber." Munro's second book of short stories came out at the insistence of Doug Gibson, her editor at Macmillan. These first books were not obviously identified as short stories on the cover page because novels sell better. Gervais discusses the combination of autobiography, fiction, and research in Munro's stories, using "The Turkey Season" as a specific example.
C102 Laurence, Margaret. "Catcher in the Corn." Letter. Books in Canada, Nov. 1982, pp. 32-33. In response to Douglas Glover's complaint that "the Iowa Writers' Workshop has become the thought control centre of CanLit." (Books in Canada, Aug.-Sept. 1982.), Laurence rebuts that the eight male writers he refers to are not "in some dark conspiracy to take over Canadian fiction under the banner of the Iowa cornbelt," and that he does not acknowledge the influence of a number of women (including Munro) writing in Canada.
Cl03 "Rights." Quill & Quire, Nov. 1982, p. 15. This piece notes that Penguin of Canada bought Canadian paperback rights for The Moons of Jupiter from Macmillan for $45,000 -- "the highest ever paid in Canada for a collection of short stories and equals the amount paid for Robertson Davies' The Rebel Angels and Hugh Maclennan's Voices in Time."
C104 Scobie, Stephen. "A Visit with Alice Munro." Monday Magazine [Victoria], 19-25 Nov. 1982, pp. 12-13. A profile which includes an interview, written after Munro's visit to Victoria for the publicity tour arranged for The Moons of Jupiter. Munro comments on such tours--she dislikes the travel, but feels the tours are important, especially since she sees them as "missionary work" to keep the publishers surviving. She also describes the selection of the painting for the cover of the book. She does not take to Scobie's suggestion that "Bardon Bus" is about a breakdown, and she wants to write about friendship between women. Munro names the Canadian short story writers she admires--Mavis Gallant, Clark Blaise, Leon Rooke, Audrey Thomas, Hugh Hood, John Metcalf, Guy Vanderhaeghe -- and goes on to admit that she has discounted the novel as a form; Munro says she cannot plan. She says she will keep working--she has a goal of seven books before she dies.
C105 " 'Writing's Something I Did, Like the Ironing.' " The Globe and Mail, 11 Dec. 1982, p. E1. Munro insists that she is " 'not a virtuoso writer,' ..... It's taken so much work to do this one thing well .... ' " She is not a poet or a critic as well. Her modesty may have to do with " 'being a woman of a certain generation.'" "When I think of male writers... I can't tell you how horrified I feel when I go to a male writer's house and see the Study, you know, the entire house set up for him to work . . . [and] everybody else is sacrificing for it.' " Munro discusses her battles with Huron County, and some biographical incidents. When she began writing Lives of Girls and Women she feared people would be bored by the detailed prose, but she was reading Proust at the ttme and that influenced her. Munro discusses being an attracnve woman and romantic love. She is no longer interested in the new fiction; it's too artificial.
C106 Porteous, Neil. "Munro National in Scope." Letter. The Globe and Mall, 18 Dec. 1982, p. 7. Responding to a previous article in The Globe and Mail on II December 1982 (C105), Porteous notes that, whether about South-Western Ontario or the Kooteneys, Munro's "minutely local detail" expresses "the national temperament, and suggests how our landscape helps to create it and sustain it."
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C153 Governor-General's Award for Fiction for Dance of the Happy Shades (A2) (1968).
C154 Canadian Booksellers Association International Book Year Award for Lives of Girls and Women (A1) (1972).
C155 Great Lakes Colleges Association New Writer's Award for Dance of the Happy Shades American Edition (A2) (1974).
C156 Province of Ontario Council for the Arts Award (1974). Shared with Hugh Hood.
C157 Honorary D.Litt., University of Western Ontario, London, Ontario (1976).
C158 Canada-Australia Literary Prize (1977).
C159 National Magazine Awards Foundation Gold Medal Award for "Accident" (B31) (1977).
C160 Governor-General's Award for Fiction for Who Do You Think You Are? (A4) (1978).
C161 Periodical Distributors of Canada's Foundation for the Advancement of Canadian Letters' First Prize for Paperback Fiction for Who Do You Think You Are? (A4) (1980).
C162 National Magazine Awards Foundation Gold Medal Award for "Mrs Cross and Mrs Kidd" (B47) (1982).
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C107 Cook, D. E. "Alice Munro: A Checklist (to December 31, 1974)." Journal of Canadian Fiction, No. 16 ([1976]), pp. 131-36. While there are some minor errors, Cook's checklist is accurate for the period surveyed.
C108 Gottlieb, Lois C., and Wendy Keitner. "Bird at the Window: An Annotated Bibliography of Canadian Fiction Written by Women, 1970-1975." American Review of Canadian Studies, 9, No. 2 (Fall 1979), 3-7, 17-18, 42-43, 53-56. The bibliography lists and annotates Lives of Girls and Women and Something I've Been Meaning to Tell You. The bibliography also includes an Index of key thematic words for all the books cited in the bibliography.
C109 Struthers, J. R. (Tim). "Some Highly Subversive Activities: A Brief Polemic and a Checklist of Works on Alice Munro." Studies in Canadian Literature, 6 (Spring 1981), 140-50. Struthers assesses Munro criticism, notes that the majority of critics ignore other criticism on her works, and calls for discussions of her work within its critical context. Struthers' checklist is a useful adjunct to the present work.
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C145 Bonniere, Rene, and David Peddie, adapted. "Postcard." Dir. Rene Bonniere. Theatre Canada: Canadian Short Stories. Prod. David Peddie. CBC TV, 1 Oct. 1970. (16 mm.; colour; 30 min.) Rebroadcast Double Exposure. CBC TV, 2 April 1971 (16 mm.; colour; 30 min.) Rebroadcast To See Ourselves. CBC TV, 18 April 1973. (16 mm.; colour; 30 min.) An adaptation from Munro's story of the same title (B21). The cast is Linda Goranson, Albert Waxman, Amelia Hall, Deborah Turnbull, Hamish Robertson, and Sydney Brown.
C146 Rylski, Nika, adapted. "Thanks for the Ride." Dir. Grahame Woods. Prod. David Peddie. To See Ourselves. CBC TV, 28 Oct. 1971. (16 mm.; colour; 30 min.) Rebroadcast. To See Ourselves. CBC TV, 6 Sept. 1973. (16 mm.; colour; 30 min.) Adapted from Munro's story of the same title (B11). The cast is Blair Brown, Edward Resmini, Stuart Glllard, Susan Conway, and Dawn Greenhalgh.
C147 Nichol, James W., adapted. "The Peace of Utrecht." Dir. Rene Bonnire. To See Ourselves. Prod. David Peddie. CBC TV, 17 Nov. 1972. (16 mm.; colour; 30 min.) Adapted from Munro's story of the same title (B14). The cast is Deborah Turnbull, Linda Goranson, Sean Sullivan, Jane Mallett, Doris Petrie, and Jan Chamberlain.
C148 Watson, Patricia, adapted. "Baptizing." Dir. Allan King. Music Ed Vincent. Performance. Prod. David Peddle. CBC TV, 19 Jan. 1975. (16 mm.; colour; 60 min.) Adapted from Munro's story of the same title (A1). The cast is Deborah Turnbull (Narrator), Jennifer Munro, Michael McVarish, Robert Martyn, Wendy Thatcher, Kay Hawtrey, Gerald Parkes, Helen Hughes, and Clare Coulter.
C149 Common, Laura, adapted. Lives of Girls and Women. Judy. CBC Radio, 29 Sept. -25 Nov. 1975. (10 min. each segment.) A thirty-part series adapted from Munro's novel of the same title (A1). The cast is Barbara Franklin, Linda Goranson, Murray Westgate, Bill Hartnoll, Gerald Dick, Eric House, Catherine Gallant, Mary Pirie, Richard Kelly, and Charlotte Odell.
C150 Reiser, Anna, adapted. "The Ottawa Valley." Dir. Daniele J. Suissa. Performance. CBC TV, 23 Nov. 1975. (16 mm.; colour; 30 min.) Adapted from Munro's story of the same title (A3).
C151 Dow, Mary, and Paul Eck, adapted. Forgiveness in Families. Dir. Paul Eck with Mary Dow. Music Jim Hill. Gallery Theatre, London, Ont. 5-7 June 1980. Reproduced, Conference on Alice Munro, St. Jerome's College, Univ. of Waterloo, Waterloo, Ont. 20 March 1982. (35-40 min.) An adaptation from Munro's short story of the same name (B27).
C152 Fraser, Ruth, adapted, Lives of Girls and Women. Narr. Judith Mabey. Prod. Lawrie Seligman. Booktime. CBC Radio, 8-26 June 1981. (15 segments; 10 min. each.) Adapted from Munro's book of the same title (A1).
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C125 Stainsby, Mari. "Alice Munro Talks with Mari Stainsby." British Columbia Library Quarterly, 35, No. 1 (July 1972), 27-30. The interview begins with Munro explaining her writing habits. Her ideas, she says, are often in her mind for a long time--if she has an idea in "the right form" it will probably take a month to fashion it into a story. Stainsby then asks about a variety of topics: novel versus the short story, smells, children, rejections of Munro's short stories, and her ability to make money from writing. Munro says that "Eudora Welty is probably my favounte writer," and emphasizes her own "rural Ontario" background. In response to a final question, "Do you write for yourself or for an audience," Munro rephes: "I... don't. . .know. I write to make something, and there it is."
C126 Metcalf, John. "A Conversation with Alice Munro." Journal of Canadian Fiction, I, No. 4 (Fall 1972), 54-62. The interview covers a variety of subjects: Munro's childhood, point of view, literary influences, and the place of the short story. Munro emphasizes the texture of language as being important to her--she intuitively knows when a word is right, seeking an "emotional exactness . . . and exactness of resonance." Metcalf then talks about the importance of described surfaces in Munro's work and the conversation moves to other writers. Munro clmms to have been influenced "in terms of vision" by Eudora Welty, Flannery O'Connor, Carson McCullers, Reynolds Price, James Agee, and Wright Morris. She says their regionalism gave hers a kind of validity. The conversation continues, and takes in Katherine Mansfield and Chekhov; the similarities in form of Lives of Girls and Women and Welty's The Golden Apples are discussed. Munro gives some background information on several of the Dance of the Happy Shades stories--they are not autobiographical in incident, though they are in "emotion."
C127 Anderson, Allan. "Aspects of the Canadian Novel." Interview with Margaret Atwood, Harry Boyle, Morley Callaghan, Robertson Davies, Marian Engel, Sylvia Fraser, Laurence Garber, Hugh Garner, Graeme Gibson, Dave Godfrey, Margaret Laurence, Gwendolyn MacEwen, Hugh MacLennan, W. O. Mitchell, Alice Munro, and Shella Watson. Anthology. Prod. Doug MacDonald. Ed. Robert Weaver. CBC Radio, 4 Nov. 1972- (4 min.) Part I of a seven-part series. Anderson interviews these writers about what motivates the writer, how they view their own work and that of others, and why they are artists. Munro, Robertson Davies, and Margaret Atwood participate in this four-minute segment of Part I.
C128 Anderson, Allan. "Aspects of the Canadian Novel." Interview with Harry Boyle, Morley Callaghan, Adrienne Clarkson, Robertson Davies, Hugh Garner, Graeme Gibson, Dave Godfrey, Robert Harlow, David Helwig, Henry Kreisel, Margaret Laurence, Hugh MacLennan, John Marlyn, Alice Munro, Joanna Ostrow, Mordecai Richler, Jane Rule, Sheila Watson, et al. Anthology. Ed. Robert Weaver. Prod. Doug MacDonald. CBC Radio, 2. Dec. 1972. Part V of a seven-part series. Anderson interviews these writers about their perspectives on regionalism, Prairie novels, ethnic novels, and dialogue. Munro's comments are very brief.
C129 Anderson, Allan. "Aspects of the Canadian Novel." Interview with Margaret Atwood, Clark Blaise, Morley Callaghan, Hugh Garner, Hugh Hood, Douglas Le Pan, Norman Levine, Gwendolyn MacEwen, John Metcalf, Alice Munro, Michael Ondaatje, Desmond Pacey, P. K. Page, David Lewis Stein, Kent Thompson, and Tom Wayman. Anthology. Ed. Robert Weaver. Supervising prod. Alex Smith. CBC Radio, 9 Dec. 1972. (2 min.) Part VI of a seven-part series. In a two-minute segment of Part VI, Munro discusses how she writes and works (by trial-and-error) and says that she does not find the short story more difficult than the novel. The merits of short stories vs. novels are discussed.
C130 Anderson, Allan. "Aspects of the Canadian Novel." Interview with David Arnason, Margaret Atwood, Austin Clarke, Robertson Davies, Kildare Dobbs, Marian Engel, Charlotte Fielden, Sylvia Fraser, Robert Fulford, Shirley Gibson, Dave Godfrey, Margaret Laurence, Gwendolyn MacEwen, John Moss, Alice Munro, Desmond Pacey, Mordecai Richler, Jane Rule, Robert Sorfleet, John White, et al. Anthology. Ed. Robert Weaver. Supervising prod. Alex Smith. CBC Radio, 16 Dec. 1972. (1 min.; 3 min.) Part VII of a seven-part series. In a one-minute segment of Part VII, Munro, Robertson Davies, and Margaret Atwood discuss the importance of money to writers, income, and The Canada Council. In a three-minute segment of Part VII, Munro and Sylvia Fraser discuss technical--composition, editing--aspects of writing.
C131 Gardiner, Jill Marjorie. Appendix [Interview with Alice Munro, 1 June 1973]. In "The Early Short Stories of Alice Munro." M.A. Thesis New Brunswick 1973, pp. 169-82. The interview is concerned primarily with Munro's use of place. The discussion begins with a consideration of Munro's early stories; she relects "The Edge of Town .... almost entirely as a contrived and as an artificial story." Questioned about her South-Western Ontario settings, Munro holds that the area shapes the experiences she chooses to write about, and she subsequently says that setting was more important to her than character when she began. There is a brief discussion of the gothic and of violence in Munro's fiction as parallel to the literature of the American South. They then discuss symbolic setting and the creation of atmosphere and, after Gardiner shows Munro a collation of two versions of "Day of the Butterfly," Munro comments that when revising she "starts hearing the narrator's voice" and the changes she makes result from this. She also says that the relation of the older narrator to the younger helps to clarify the event. After a discussion of the autobiographical dimension of her stories, Munro discusses her preference for the first-person form of narration in Dance of the Happy Shades, and the interview concludes with a brief discussion of Munro's use of mentally retarded people as characters. (See C113.)
C132 Gibson, Graeme. "Alice Munro." In Eleven Canadian Novelists. Toronto: House of Anansi, 1973, pp. 239-64. Broadcast ("Interview with Alice Munro") Anthology. CBC Radio, 10 March 1973. (29 min.) Rpt. (excerpts--"The Authors on Their Writing") in Personal Fictions: Stories by Munro, Wiebe, Thomas, and Blaise. Ed. Michael Ondaatje. Toronto: Oxford Univ. Press, 1977, pp. 241, 243, 246, 248. Munro is not sure if writers know special things, but she is sure that she is "excited by... the surface of life," for she seeks to obtain "the exact tone or texture of how things are." She sees writing as a way of coming to terms with her experience. Discussing her technique, Munro sees herself as traditional, and later says "I can't have anybody in a room without describing all the furniture." Regarding Lives of Girls and Women, Munro disavows the ability to write in the tight form of the conventional novel. The interview then turns to Lives of Girls and Women and through it, to a discussion of male-female relations. They discuss the atutudes of Del's aunts toward Uncle Craig's work and see a counterpart in Del's attitude toward Jerry Storey. A problem, Munro says, that women have in dealing with men is that they are afraid they will destroy them.
C133 Frum, Barbara. "Great Dames." Maclean's, April 1973, pp. 32, 38 Munro says she wanted to be a writer from the age of twelve and, never telling anyone, thought "the work was always a very private thing" that "she had to protect." Munro then presents her views on being a woman--as a housewife, a mother, and as a writer. She concludes: "what is it about women that makes us want to make love with our whole being? Men don't seem to have this problem, and when we know the answer to why there's this difference we'll know something about liberation."
C134 Boyle, Harry. "Interview with Alice Munro." Sunday Supplement, CBC Radio, 18 Aug. 1974. Munro and Boyle discuss growing up in rural Southern Ontario, getting at the truth in writing, how Munro begins her stories, "Canadian Gothic" (meaning the macabre in certain rural lives), the relationship between men and women in Munro's stories, and the use of real people in writing. Aileen Seaton also reads selections from Munro's story "The Found Boat" (B100).
C135 Murch, Kem. "Taped Interview with Alice Munro." The London Ontario Women's Centre Review, Feb. 1975, [pp. 8-19]. Rpt. (revised "Name: Alice Munro; Occupation: Writer") in Chatelaine, Aug. 1975, pp. 42-43, 69-72. A brief analysis of the reason why women are attracted to men like Garnet French in Lives of Girls and Women opens a discussion of relationships between men and women. Munro notes that "we are forced into this thing where we try to see our bodies through men's eyes. . . and I suppose that amounts to a contempt for our own individual bodies." Murch reflects upon the kind of opposition and pressures Del Jordan experiences and notes that "in this kind of primitive situation in which I grew up, your whole sexual set is towards a stereotype." Responding to a question about her descriptions of men, Munro states that "I don't make real characters out of them .... I make the appearance character, the way the woman sees them." She reflects briefly on her daughters and mentions that "Ottawa Valley" reveals some of the feelings she has experienced towards her mother. Murch asks about her ability to recall details, and Munro says "it must be a kind of visual thing that's just like having an ear for music." Munro hopes that the influence her books have had on people is "recognition of yourself."
C136 Gane, Margaret Drury. "Do You Use Real People in Your Fiction?". Saturday Night, Nov. 1975, p. 41. Munro responds to the title quesuon that, though uncertain, "Mostly I use composites." She also says "Fiction seems to me such a serious adventure I will do almost anything it requires--entiurely forgetting about the audience and consequences."
C137 Gzowski, Peter. "Interview with Alice Munro." Gzowski on FM. CBC-FM Radio, 19 Feb. 1976. (35 min.) Rebroadcast Gzowski on FM. CBC-FM Radio, 1 March 1977. (35 min.) Munro talks about how her writing is linked with memory and gives her associations and feelings about the following words: "resignation," "brutality," and "intimacy." She reads selections from Lives of Girls and Women and says the novel is autobiographical in feeling if not in incident. She talks about the public life of a writer in Canada and says writers are continually asked to pronounce on things. She says that Bob Weaver has been enormously helpful throughout her carcer.
C138 Laurence, Jocelyn. "Munro, Exploring Disguises." Chatelaine, Nov. 1978, pp. 67, 116. Munro attempts to express the complexities of people's lives in her fiction and her talent "lies in revealing the ordinary, the disguises used so often they become commonplace." After observing that Munro's work concerns itself primarily with women, Laurence points out that, while her work is personal, Munro is essentially a private individual.
C139 Harron, Don. "Interview with Alice Munro." Morningside. CBC Radio, 13 Nov. 1978. Rebroadcast, 3 July 1979. (20 min.) Harron observes that Who Do You Think You Are? uses "harsher background" than that in Munro's other works, and Munro explains that "this was raw material I did experience but hadn't used before." She notes that she does not and has never been able to write a novel because "I don't think of life as an orderly progression .... Life is little jumps, mostly just surviving." She feels "Wild Swans" describes "how one reacts to something unthinkable," and Rose exhibits not passivity, but curiosity. According to Munro, the class system is very evident in Canada, and she wanted the book to be about class systems and economic divisions. She feels women writers "have got to get away from the theme of how I left my husband and became a person; life is more complicated than that."
C140 Davldson, Joyce. Interview with Alice Munro. Authors. CBC TV, 8 Jan. 1979. (30 min.) Who Do You Think You Are? is used as a point of reference. Munro discusses her personal experiences as a groundwork for fiction; the fusion of reality and fiction; the reader's identification with the novel; her childhood during the Depression; her father; the balance between marriage and work; and the "Protestant ethic" and its effects on her.
C141 Gerson, Carole. "Who Do You Think You Are?: A Review/Interview with Alice Munro." Room of One's Own, 4, No. 4 ([Winter] 1979), 2-7. A brief interview which concentrates on Who Do You Think You Are? and also contains longer review passages on the book. Gerson notes that the book is similar to Lives of Girls and Women and Munro responds that it is "an episodic novel" while Who Do You Think You Are? is made up of "linked stories." The difference, she says, lies with her treatment of minor characters--Anna, for example, is important when Rose is caring for her; she is less so when Rose is not. Munro does not see Rose "as a kind of modern everywoman" -- she is herself, a person who decides "to keep herself whole, rather than involved." Munro acknowledges a certain repetitive quality in Who Do You Think You Are?, but asserts that it was what she wanted to do. As a last remark, she acknowledges the importance of the relation of memory and the past to her work.
C142 Twigg, Alan. "What Is: Alice Munro." In For Openers: Conversations with 24 Canadian Writers. Madeara Park, B.C.: Harbour, 1981, pp. 13-20. The interview begins with Twigg's comment that Munro's writing "is like the perfect literary equivalent to a documentary movie"; Munro agrees, and the conversation turns to the deletion of Lives of Girls and Women from an Ontario high school reading list. Munro condemns those behind the action for their "total lack of appreciation of what literature is about!" She does not accept Atwood's theory about Del Jordan's writing in Lives of Girls and Women--that it is an act of redemption. Munro sees it, and her own writing, as "a way of dealing with life." They then discuss the short story as a form, the market for the short story, the way in which Munro gleaned material from her daughters' lives as they were growing up, and from her own childhood. Munro also says that male writers are freer than female ones because they can be outrageous--"If a woman comes in shouting and drinking and carrying on, she won't be forgiven." Munro feels freer and happier since turning forty.
C143 Kelman, Sue Ann. Profile. Sunday Morning. CBC Radio, I7 Oct. 1982. (15 min.) A personality profile in response to the publication of The Moons of Jupiter. Munro does not allow journalists into her home, a private place; instead she insists on being interviewed in Toronto. Coming to her interview for this program Munro thought about her current writing rather than the interview. Every day she thinks about giving up her fiction, writing non-fiction instead. Munro describes her writing process. Kelman states that Munro is "obsessed with memory, seeking the exact texture of the past." She does not use real life, although she does need a picture of real life as a point of departure. Munro is not a feminist writer, although there is often a feminist perspective in her writing--her stories are not about opinions or ideas. Munro maintains that she can read a story at any point, but does not understand reading for plot: she likes to speak of her method as a desire to "inhabit a story." Munro is scared of reviews and usually fears the worst, even imagining negative headlines. Each time she writes, she is afraid--wondering if the writing will work this time. She does not like autographing, publicity. Actress Clare Coulter reads brief excerpts from The Moons of Jupiter and Lives of Girls and Women (see B103 and B104).
C144 Hancock, Geoff. "An Interview with Alice Munro." Canadian Fiction Magazine, No. 43 (1983), pp. 74-114. Hancock defines and develops questions of craft and content and offers insight into Munro's view of her work. Virtually all of Munro's fiction is mentioned in the discussion, which touches variously on technique, influence, and authorial retention, while, at the same time, the interplay leaves the reader with a sense of Munro's personality. She works hard on her stories, focusing her complete attention on each one, and she stresses that she is unconcerned with message, myth, or system. The "single story," she says, satisfies her most--she does not apologize for writing stories, not novels. Munro values humour in a story. She discusses action and setting, eschewing each in favour of character as image: "It's just a quality of these people's lives that matters to me." Her method is strictly intuitive--she does not so much reach a preconceived goal as she discovers that goal, unanticipated, through her process of continually rewriting and reshaping. She feels for the "rightness" of a story, and many have been withheld--despite successive revisions--when she has not been satisfied. "I just see people living in flashes," Munro says, and this is the texture and space she attempts to capture and communicate. Writing from her memories, Munro is certain she will never run out of material. She has no message: "What I have is people going on."
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Part 2 Works on Alice Munro; Articles and sections of books, bibliographies, theses and dissertations, interviews, dramatic adaptations, and awards and honours; Theses and dissertations
Thacker, Robert (compiler)
C110 Reid, Verna P. "Perceptions of the Small Town in Canadiaan Fiction." M.A. Thesis Calgary 1972. Lives of Girls and Women is used as a "touchstone" in this thematic study of the small town as garrison, female domain, and home (see C23).
C111 Tanaszi, Margaret. "Emancipation of Consciousness in Alice Munro's Lives of Girls and Women." M.A. Thesis Queen's 1972. Tanaszi places Lives of Girls and Women in the context of feminist literary criticism through a close textual analysis. The novel "presents an accurate picture of the emancipation of consciousness which women must undertake to achieve freedom in lifestyle." Tanaszi emphasizes Del's growth amid the lives of ordinary people in a small town.
C112 Duteau, Clare L. "The Dramans Personae of Alice Munro." M.A. Thesis Alberta 1973. Duteau examines female roles in Dance of the Happy Shades and Lives of Girls and Women; specifically, "the girl flowering into a woman," "the role of the believer," and "the role of the writer." Each role is considered in terms of the relationship between each fictional character and "the extent to which we can perceive [Munro's] participation" in that character's plight.
C113 Gardiner, Jill Marjorie. "The Early Short Stories of Alice Munro." M.A. Thesis New Brunswick 1973. Gardiner examines Munro's early stories and those contained in Dance of the Happy Shades, tracing "the reciprocal development of Munro's intensely personal skill and her technical skill as an artist." Gardiner sees "The Peace of Utrecht" as the first union of these parallel developments; thus it marks the beginning of her mature writing. Munro's central concern ms character, which she handles with a "spare, ew)cauve style," and her characters "express umversal truths about the human condition." Contains an interview with Munro as an Appendix (C131).
C114 Wilson, Patricia A. "Women of Jubilee: A Commentary on Female Roles in the Work of Alice Munro." M.A. Thesis Guelph 1975. Wilson treats Munro's depiction of females by age group: "The Young Girl," "The Mother," and "The Old Woman." She traces the effect of environment through consideration of societal conventions and the inhibitions they produce; these conditions "act in a negative way on female development."
C115 Thacker, Robert W. "A Fine and Lucky Benevolence: The Development of Alice Munro's Narrative Technique." M.A. Thesis Waterloo 1976. Thacker traces the development of Munro's dual-voiced, retrospective narrative technique through a close textual examination of the early uncollected stories and those contained in Dance of the Happy Shades. He argues that by the tnne she completed her first volume, Munro had developed a characteristic technique which allowed her to present two personae of the narrator--the older narrator and the person who experiences the story's central action--concurrently and so obtain both objective detachment and subjective intensity.
C116 Babineau, Nicole. "The Narrative Use of Atmospheric Evocation in the Fiction of Alice Munro: An Image of Superrealism." M.A. Thesis Montreal 1977. Munro's fiction leads to "a superrealistic perspective." Hers is "a special kind of realism" which uses "textural impressions and colorful images" to recreate space and memory time in her stories. Thus everyday reality is amplified to a point of heightened consciousness in her stories, which are "confessional and evocative documentaries." Babineau examines Munro's first three books.
C117 Irvine, Lorna Marie. "Hostility and Reconciliation: The Mother in English Canadian Fiction." Diss. American 1977. Irvine uses Munro's fiction along with that of Margaret Atwood, Marion Engel, Sylvia Fraser, and Margaret Laurence to demonstrate "the pervasive influence of the maternal past," especially the way in which the fiction gives "concrete form to the traumas of separation." "The Peace of Utrecht," "Red Dress--1946," "Executioners," and "The Ottawa Valley" are discussed (see C60).
C118 Packer, Miriam. "Beyond the Garrison: Approaching the Wilderness in Margaret Laurence, Alice Munro, and Margaret Atwood." Diss. Montreal 1978. Packer treats Munro's first three books in terms of the theme of defense--"Women in Alice Munro are destructively defensive." Thus Munro's work "seems on the surface to concentrate heavily on women as victims," "victims of class structure, saddened by the conditions of their lives, yearning" for solace. Munro emphasizes the need for women to develop "a sensitive eye for private beauty in the midst of oppressive discontent around them."
C119 Rankin, Linda Marie. "Sexual Roles in the Fiction of Alice Munro." M.A. Thesis New Brunswick 1978. Rankin examines Munro's first three books in terms of her delineation of sexual roles; Rankin is especially concerned with the changing status of women since the 1930s. Through Munro's presentation of both "conformist and nonconformist" characters, Munro is calling for "a more tolerant atmosphere in society." Munro's work has stimulated serious thinking on sexual roles in Canada.
C120 Robson, H. P. Nora. "Wawanash County: Parallels between the World of Alice Munro and the White American South." M.A. Thesis McGill 1978. Robson's argument is based on Munro's comment that South-Western Ontario resembles the American South as a literary setting. The parallels between Munro's work and that of such Southerners as Eudora Welty, Flannery O'Connor, and Carson McCullers, are explored through such elements as the sense of place, history, family tradition, and the grotesque. Wawanash county is "on a similar plane" with the white American South.
C121 Lamont, Linda. "Absurdity and Horror in Blaise and Munro." M.A. Thesis Calgary 1979. The stories of both Alice Munro and Clark Blaise are essentially "horror stories" which depict "the shocking disruption of the matter of fact atmosphere of daily life by the absurd and the grotesque." Lamont compares the two writers on this basis, examining Munro's first three books, and, ultimately, discusses the ways in which the authors' stories "conform to and diverge from the tradition of Gothic romance."
C122 Velden, Maria Cecilia. "Surfaces and Depths: The Fiction of Alice Munro." M.A. Thesis Western Ontario 1979. Munro's depiction of surfaces and textures, providing detailed descriptions of peoples, places, and things, constitutes a literary technique which might be called Magic Realism. It establishes "a rich texture of life" and allows her "to explore the human condition concretely" through the mysteries she defines in her characters' seemingly familiar surroundings. Thus Realism of texture is one of Munro's major techniques and its workings are examined here throughout her four books.
C123 Leitch, Linda Margaret. "Alice Munro's Fiction: Explorations in Open Forms.'" M.A. Thesis Guelph 1980. Leitch emphasizes Munro's structural innovations and inventiveness in using the "open form" of a book composed of autonomous units that nevertheless display a tight unity. The discussion concentrates on Lives of Girls and Women and Who Do You Think You Are?, but Leitch relates the gestation of each of these works to the far less unified book which preceded it. Also, by examining the previously published versions of stories later included in Who Do You Think You Are?, and by examining an earlier version of this book, Leitch demonstrates that extensive textual alterations occurring between the original and later versions of the story are responsible for much of its unity and that the earlier version of the book represented yet another variation of the open form.
C124 Struthers, J. R. (Tim). "Intersecting Orbits: A Study of Selected Story Cycles by Hugh Hood, Jack Hodgins, Clark Blaise, and Alice Munro, in Their Literary Contexts." Diss. Western Ontario 1982. Struthers outlines the method and principal themes that inform Munro's stories and discusses the sequences and forms of her story cycles.
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Source: Thacker, Robert (compiler); . Part 2: Works On Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 364-411 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP2.
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Source: Part 2: Works On Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 364-411
Part 2 Works on Alice Munro; Selected book reviews; Dance of the Happy Shades
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D17 Fischman, Sheila. "To Maturity Along a Rural Route." The Globe Magazine [The Globe and Mail], 19 Oct. 1968, p. 24. Munro "belongs with poets like Al Purdy and John Newlove, who have also written about rural Canada." She does not need to be compared: she "makes common experiences become unique but universal expressions of something of what it means to be alive .... This is a book to delight in, to live through, to read and re-read."
D18 Simpson, Leo. Rev. of Dance of the Happy Shades, by Ahce Munro; and Miracle at Indian River, by Alden Nowlan. Anthology. CBC Radio, 19 Oct. 1968. (8 min.) Simpson discusses Munro for five minutes of his time, describing the stories, the evocation of place, and the collection's fine style.
D19 Thomas, Audrey. " 'She's only a girl,' he said." Canadian Literature, No. 39 (Winter 1969), pp. 91-92. Thomas wryly undercuts Garner's introductory remark that Munro's "are women's stories" (though Thomas admits "a modicum of relevance" to the observation). She goes on to make precise comments on Munro's narrative tone which "is curiously detached and un-feminine, un-emotional and un-involved." The one weakness Thomas sees is of a writer "consciously holding herself in," afraid of the passionate tales found in Chatelaine or the Ladies' Home Journal. Thomas also notes that Munro is a "stylist and a professional .... first and foremost" and, savouring this story and that, observes: "... it might be possible to love Mrs. Munro for her sentences alone, they are so carefully considered and so beautifully in balance."
D20 Kirkwood, Hilda. Rev. of Dance of the Happy Shades. The Canadian Forum, Feb. 1969, pp. 259-60. In her best stories--" 'A Time of Death' [sic], 'Postcard,' 'Thanks for the Ride' and 'The Shining Hours' [sic]"--Munro matches "the real ones" referred to by Hugh Garner in the book's Foreword. As a whole, though, the collection is uneven.
D21 Peter, John. Rev. of Dance of the Happy Shades. The Malahat Review, No. 11 (July 1969), p. 126. Despite its physical appearance and "posturing introduction," the book "is a beautiful collection of stories." It is not experimental and through "prose that as a model of fastidiousness and precision [Munro] presents . . . absolutely convincing glimpses of small town life in Ontario .... " It "is the human content of the storms that matters most," and this aspect "is so sensitively handled that it beggars the imagination to try to suppose them in any way improved." "This is a book for the English-speaking world, and will hold its own against all comers, from anywhere."
D22 Roper, Gordon. "Letters in Canada: 1968. Fiction." University of Toronto Quarterly, 38 (July 1969), 363. A positive passing mention in which Munro is favourably compared to other major Canadian writers of short fiction. Her "sensitivity to a wide range of individuals, of feeling, and of situation and place is remarkable, and she conveys her awareness with a sure sense of touch that seems effortless."
D23 Thompson, Kent. Rev. of Dance of the Happy Shades. The Fiddlehead, No. 82 (Nov.-Dec. 1969), pp. 71-72. Munro "has a remarkable command of detail and nuance. She has an ability. . . to set detail in tonal relationships to one another and thereby effect a mood out of a 'simple' description." Thompson cites a passage from "Walker Brothers Cowboy" and, while stating it is "as skillfully done as anything of James Agee's," goes on to say that the stories are only "apparently" simple--they are in fact "incredibly complex."
D24 Helwig, David. "Canadian Letters." Queen's Quarterly, 77 (Spring 1970), 127-28. Helwig notes the sense of deja vu Munro's stories draw from him; "The whole feeling of [South-Western] Ontario is in Mrs. Munro's book of stories." And, although "violence and irony may be suggested in the background" of them, "Her art consists of an expansion inward, rather than outward, the discrimination of tone and language that makes a small event within a provincial society an important human matter."
D25 Levin, Martin. "Dance of the Happy Hours." The New York Times Book Review, 23 Sept. 1973, p. 48. A brief overview which asserts that "The short story is alive and well in Canada." Munro's stories are "like fresh winds from the North." She "elects to arrive at revelations rather than ironies" and "poses more questions than answers--a refreshing strategy."
D26 Prince, Peter. "Paragons." Rev. of Strangers, by Mervyn Jones; Love: All, by Molly Parkin; The Living Daylights, by Jill Neville; and Dance of the Happy Shades, by Alice Munro. New Statesman, 3 May 1974, p. 633. A brief mention which considers Dance of the Happy Shades amid three other books. Munro "offers an absolute object lesson" in restraint. Her stories are "beautifully controlled and precise. And always this precision appears unstrained."
D27 Rev. of Dance of the Happy Shades. The Times Literary Supplement, 10 May 1974, p. 493. The review notes the "small environments of provincial Canadian life," and also Munro's emphasis on the rituals of childhood, before observing that Munro is a writer "with all the virtues of the female writer, but with a not altogether acquiescent irony which saves her from the feminine."
D28 Blythe, Ronald. "Keeping a Foothold." Rev. of Dance of the Happy Shades, by Alice Munro; Iron Earth, Copper Sky, by Yashar Kemal; Married Lives, by Harry Kressing; About Time, by Michael Bygrave; Inverted World, by Christopher Priest; and The Innocence Has Gone, Daddy, by Andre Launay. The Listener, 13 June 1974, p. 777. Blythe observes that the setting of these stories, particularly the ones using Jubilee as their background, affects the characters very directly. "Outright protest" is rare, and "what energy there is goes into retaining a foothold." Munro frequently focuses on the discovery of freedom "within an accepted curtailment." Unlike other " 'sticks' literature," this book does not present "quaintly inflated" characters.
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- Annotated bibliography of Canada's major authors, no. 5
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- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Criticism & interpretation -- Bibliography
Titles critiqued: LIVES of girls and women (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 2: Works On Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 364-411)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP2
p. 396-399 (4 p.) - Links:
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Source: Part 2: Works On Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 364-411
Part 2 Works on Alice Munro; Selected book reviews; Lives of Girls and Women
Thacker, Robert (compiler)
D1 Dobbs, Kildare. "This First Novel Is Solid, Beautiful." Toronto Dally Star, 30 Oct. 1971, p. 71. Comparing Lives of Girls and Women to Margaret Laurence's A Bird in the House, Dobbs notes that both writers work within the Realistic genre. Del Jordan becomes increasingly aware of death and decay as she matures, and her mother and Aunt Moira come to represent" "'survivors of the female life.'" Like Munro, Del eventually writes "realistic fiction about a girl growing up in small-town Canada."
D2 Grosskurth, Phyllis, "A Delight: Goodbye to Inhibitions." The Globe Magazine [The Globe and Mail], 30 Oct. 1971, p. 17. Lives of Girls and Women "is a delight, a wonder, a blessing devoutly to be thankful for": "a natural, organic depiction of the development of a girl-child into a woman .... " Grosskurth emphasizes the depiction of Del's "private wonders": Uncle Craig's heart attack and death, her relationship with her mother, and Jubilee's Flats Road. Lives of Girls and Women is compared to Gabrielle Roy's Street of Riches and Sherwood Anderson's Winesburg, Ohio. Perhaps Munro has loosened Canadian inhibitions.
D3 Rule, Jane. "The Credible Woman." Books in Canada, Nov. 1971, pp. 4-5. In a highly laudatory review, Rule states that despite a lack of publicity, Munro is a "writer of rare and clear gifts." Although Hugh Garner describes the subject matter as ordinary, Rule finds it "nearly as foreign as a Greek village," comprehensible only through Munro's writing. Del's development is focused upon, especially her growth as an artist.
D4 McAlpine, Mary. "An Expansive Vision, a Fulfilled Promise." Saturday Night, Jan. 1972, pp. 36-37. McAlpine traces Del's experiences and moments of insight, pointing out that her mother is "a combination of fascination and embarrassment." Comparing her to E. M. Forster, she notes that Munro "handles death unexpectedly." Uncle Benny, Naomi, Uncle Craig, and other secondary characters are briefly described. Although Munro has produced only two books, she displays an "exceptional talent to observe and recreate the lives of whole and ordinary people."
D5 Jackson, Heather. Rev. of Lives of Girls and Women, by Alice Munro; and King of Egypt, King of Dreams, by Gwendolyn MacEwen. The Canadian Forum, Jan.-Feb. 1972, pp. 76-77. Lives of Girls and Women is not a novel, but a fine collection of short stories. She notes, however, that the self-contained episodes are linked by setting and by a plot that deals with the "conventional crises" of a young girl's maturation. Munro "writes as though effortlessly," with "hindsight and a fine eye for details," especially the rather sordid details of small-town life. She is a writer who "tries to make familiar things appear wonderful."
D6 Rudzik, Orest. "Letters in Canada: 1971 Fiction." University of Toronto Quarterly, 41 (Summer 1972), 313-14. Munro defines a "subtly and palpably defined country of the sensibility" through her "series of self-contained units." In Lives of Girls and Women "there is an accumulation of a life involved in that finely mythical past of a small southwestern Ontario town." Del's liberation forces her to understand Jubilee--"something that must be recaptured and cannibalized, and repeated."
D7 Polk, James. "Deep Caves and Kitchen Linoleum." Canadian Literature, No. 54 (Autumn 1972), pp. 102-04. Polk stresses the very conventionality of Munro's material and observes that "a good writer can do almost anything and make it work." It works because of Munro's attention to detail while Del Jordan "goes from Grade Four to defloration critically observing the examples around her but finding few guidelines for her own conduct." The book, Polk argues, might be seen as "one of the new Condition-of-Women tracts," but for Munro's sense of humour. Compared to Dance of the Happy Shades, "... the novel misses out on that black, brutal cutting edge that gives the stories their idiosyncratic power."
D8 Thomas, Clara. "Woman Invincible." Journal of Canadian Fictton, I, No. 4 (Fall 1972), 95-96. A positive review which puts the book in the context of Canadian autobiographical and fictional accounts of female adolescence." Experience does not change Del's "essential selfhood" as she grows to maturity and, like other characters in the book, she is like them in their isolation. But while the minor characters who surround Del "remain hauntingly real after the book is finished. . . Del herself remains curiously static." Munro's talent "is both large and delicate."
D9 Klein, Norma. Rev. of Lives of Girls and Women. Ms., Aug. 1973, pp. 30-31. The book's great strength "is the combination of detachment born of having grown up, escaped, and found different values, with the ribald, humorous appreciation of girlhood." Klein emphasizes the importance of women to Del's life, and finds her mother "hilarious." "The book captures the same sadness of life in a small town that Sherwood Anderson did in Winesburg, Ohio."
D10 McGoogan, Ken. "Women Elbowing Their Way into the Literary Forefront." Toronto Star, 3 Aug. 1973, p. F7. Munro is among those female Canadian writers who have "finally elbowed their way into the forefront of national consciousness." In Lives of Girls and Women, she assumes a less militant posture than Marian Engel, and McGoogan considers her "almost formal, say semi-English." This novel contains "precise, carefully wrought turns of phrase and startling original insights," and Munro's rich imagery is reminiscent of Ernest Buckler's The Mountain and the Valley.
D11 Currie, Sheldon. Rev. of Lives of Girls and Women. The Antigonish Review, No. 15 (Autumn 1973), pp. 99-100. Currie comments that Del "discovers that the bonds between people are mysteriously incomplete, tentative, and yet compelling." Munro "carries us along with her free-flowing style, and with her gentle metaphors she nudges us into recognition of the universality and the importance" of the crisis in Del's life. "The book is gentle and powerful, like a seed."
D12 McMullen, Lorraine. Rev. of Lives of Girls and Women. Canadian Fiction Magazine, No. II (Autumn 1973), pp. 93, 95, 97-98. This review summarizes much of Lives of Girls and Women, focusing on Del's confrontations with the different "worlds" of her family, her relatives, and her school. The "Baptizing" episode provides the culmination for the major themes of the book: "love, death, faith, illusion versus reality." McMullen notes the similarities between this book and Margaret Laurence's A Bird in the House, but points out that Munro uses very little dialogue and her narrator is more introspective. Munro writes with the "double vision of child and adult" and so "betrays a remarkable ability to get into the mind of Del Jordan in her various stages of growing up, and adds to this the wisdom and wry humour of the adult Del."
D13 Tomalin, Clare. "Harvest and Holocaust." The Observer, 21 Oct. 1973, p. 40. The story is told "with unusual completeness and clarity"; "... there is not a dull or a false note in the book, which achieves exactly what it attempts."
D14 Johnson, Marigold. "Mud and Blood." New Statesman, 26 Oct. 1973, pp. 618-19. A review which calls the book "episodic and sometimes repetitive." Munro wrttes with an "unself-conscious immediacy and intelligence."
D15 Blythe, Ronald. "Blob." Rev. of Wartime, by Adrian Mitchell; Lives of Girls and Women, by Alice Munro; Forelgn Affairs, by Hugh Fleetwood; and Meetings with the Angel, ed. Benjamin Tammuz and Leon Yudkin. The Listener, 29 Nov. 1973, p. 29. Munro uses the "perennial" theme of "the sensitive plant in the cabbage patch" in Lives of Girls and Women. Blythe feels that the dense descriptions of the early chapters are deliberate and they "outline the thicket from which Del's spirit must take flight." Del's experiences with Garnet become "a brilliant study of blind love," and the book as a whole is a subtle and perfectly narrated story examining "the ruthless terms which provincialism can offer to the free and discontented mind."
D16 Beer, Patricia. "Beside the Wawanash." The Times Literary Supplement, 17 March 1978, p. 302. The reviewer finds this an "honest book," which is more a collection of stories than a novel. Munro "often explains too much. The writing is in fact good enough to rely much more on implication than it allows itself to do."
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Source: Thacker, Robert (compiler); . Part 2: Works On Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 364-411 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP2.
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Record: 284- Title:
- Part 2 Works on Alice Munro; Selected book reviews; Something I've Been Meaning to Tell You: Thirteen Stories
- Other Title:
- Part 2 Works on Alice Munro; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Criticism & interpretation -- Bibliography
Titles critiqued: SOMETHING I've been meaning to tell you (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 2: Works On Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 364-411)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP2
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Source: Part 2: Works On Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 364-411
Part 2 Works on Alice Munro; Selected book reviews; Something I've Been Meaning to Tell You: Thirteen Stories
Thacker, Robert (compiler)
D29 French, William. "Beautiful. Her Talent's Transportable." The Globe and Mail, 25 May 1974, p. 32. Munro has broken out of rural Ontario as her subject and setting. Taking on new subjects, Munro shows "a new toughness, a sense of the confusion of urban life," and of "the impermanence of man-woman relationships." The shift of locale sometimes leads to uneven tone but, this notwithstanding, Munro proves yet again to be "one of our most capable writers.'"
D30 Fulford, Robert. "Solemn Style." Toronto Star, 25 May 1974, p. F5. Rpt. in The Montreal Star, 1 June 1974, p. D14. Munro's truth: "You can't ever really understand anyone, you can only rabble at the edges of comprehension." Her solemn style is better, her perceptions more acute. She captures the Ontario wasp exactly--"the generations speak to each other through clouds of half-truths and outright deceptions." Though her endings are not as good as her beginnigs, Munro does her work so well that she makes her WASP reader uncomfortable.
D31 Hosek, Chaviva. Rev. of Something I've Been Meaning to Tell You. Quill & Quire, June 1974, p. II. Hosek compares the book to Munro's earlier work, describing the changes and differences. Because "the new direction has not yet reached the poise and subtlety of Munro at her best," this collection is transitional.
D32 Woodcock, George. "Bittersweets for the Short Story Buffs." Maclean's, June 1974, p. 94. Woodcock notes that the number of short story collections published each year is increasing, and the excellence of books by "natural fiction writers" like Munro makes him wonder why the short story's popularity ever waned. After tracing the decline of the short story in Canada, he observes Robert Weaver's encouragement of Munro. In Something I've Been Meaning to Tell You, she once again explores the "follies and gallantries of that rural and small-town world."
D33 James, Geoffrey. "Moving Miniaturist." Time [Canada], 17 June 1974, p. 10. After two books of "childhood reminiscences," Munro now shows "welcome signs of growth" through her more diversified characters and their situations. Munro achieves a kind of subcutaneous empathy with her subjects."
D34 Hunt, Russell. "What You Get Is What You See." The Fiddlehead, No. 102 (Summer 1974), pp. 116-19. Hunt notes the "vividness" which has been a hallmark of Munro's success in capturing the reader's participation. But Something I've Been Meaning to Tell You "represents a falling away from the level of Munro's earlier work," occasionally being too "pat" and lacking "complexity," lacking "connections."
D35 Struthers, J. R. (Tim). "Books: Exciting Collection." The London Free Press, 22 June 1974, p. 70. Munro's work has been partially misunderstood; her "foremost interest is ordering." While her earlier fiction concerns female adolescence in South-Western Ontario, this collection deals with a wider range of characters and settings. The stories are "more terrifying, and mysterious," and "greater emphasis is given here to tragically ironic experiences."
D36 Naglin, Nancy. "Nel Mezzo del Cammin ...." Books in Canada, June-July 1974, pp. 7-8. "Munro is simply too good, too disciplined and too catholic to be labelled anything other than an accomplished story-teller."
D37 Dobbs, Kildare. "New Direction for Alice Munro." Saturday Night, July 1974, p. 28. Dobbs discusses the greater complexity of this collection while savouring its wider range. Munro "has it in her to become one of the best story tellers now writing."
D38 Julian, Marilyn. Rev. of Something I've Been Meaning to Tell You. The Tamarack Review, No. 63 (Oct. 1974), pp. 82-83. Julian notes that Munro is fascinated by windows -- "Always there is the figurative shattering of window glass, subtly with humor." She perfects "in print the natural shape of oral Canadian story-telling."
D39 Nolan, Tom. "Spellbinding Tour of Mind and Heart." Los Angeles Times, 27 Oct. 1974, Sec. Cal., p. 70. Munro will "gain some of the great non-parochial acclaim that is her obvious due" with this collection. Emphasizing the scope of Munro's vision and the depth of her understanding, Nolan goes on to quote the words of the narrator in "Material": "How honest this is and how lovely," she says, reacting to a story written by her ex-husband based on an incident out of their shared past. The same, Nolan says, should be said of Something I've Been Meaning to Tell You.
D40 Rev. of Something I've Been Meaning to Tell You. The New York Times Book Review, 27 Oct. 1974, p. 54. These are "journeymen's work," but only that. Munro's stories are formulaic and while there is a lot of information, there is little "emotional tension." The narrators strive to be well-liked and their tone is "sycophantic." Munro's stories, the reviewer concludes, are forgettable.
D41 Orange, John. "Munro's Magic Weave." Journal of Canadian Fiction, No. 13 (1975), pp. 194-96. Orange sees the collection as demonstrative of Munro's "wide range and versatility." Noting the variety of characters and locales, he argues that "the most welcome aspect of this collection is that the various kinds of people and environments... are rendered convincingly and with the same skill that was so conspicuous in the earlier books." Sexual relations and the problems of the elderly are recurring themes, as is the problem of expressing reality in words. In general, the stories are "full of humour, satire, compassion and understanding," and Orange marvels at Munro's technique which he is tempted to call "magic."
D42 Blodgett, E. D. Rev. of Something I've Been Meaning to Tell You. Canadian Fiction Magazine, No. 16 (Winter 1975), pp. 99-101. The "paradoxical clarity of redirect narration" in Something I've Been Meaning to Tell You is a "distinct advance" from the "ambiguous" narrative perspective of her earlier work and the title story illustrates this development. In other stories, Munro displays a "style in which revelation would be a kind of cover-up." The book is "a classic of its kind; it deserves the same respect as Sinclair Ross's The Lamp at Noon."
D43 Garis, Leslie. "At the Mercy of Life." Ms., Jan. 1975, pp. 42-43. These stories are complex and unsettling in their examination of "womanhood and of the constraints forced on human beings by the narrow, traditional expectations of society." Most of the characters are female, and they struggle with "preconceived images of womanhood." A number of the stories concern women who have settled for "order, predictability and who enter old age alone." Others focus on "the haunted, artistic girl, whose attempts to follow the rules of femininity these women teach always end in dismal failure." All the characters accept conventional roles or "a kind of psychological exile," and they find themselves " 'at the mercy' of life."
D44 Elson, Brigid. Rev. of Something I've Been Meaning to Tell You. Thirteen Stories. Queen's Quarterly, 82 (Spring 1975), 136-37. The book is "an ambitious attempt to explore a fairly wide range of characters and life styles." The reviewer lists some of these, and comments that Munro's style "is economic without being terse, a trait which produces, too seldom for my taste, some marvelous drily comic passages." Instead, Elson often finds the style "tedious," and considers Munro's "Faulknerian" evocations of violence ineffective.
D45 Pritchard, William H. Rev. of Something I've Been Meaning to Tell You. Hudson Review, 75 (Spring 1975), 156-57. Munro is a writer "vividly in touch with ordinary life--strange as it is." Pritchard quotes a long passage from "Tell Me Yes or No" and comments: "Such writing comes with the grateful shock of fresh recognition and sanity: fiction is not a joke, the imagination is not a put-on, art exists to convey the rhythms and diminished glamours of felt life."
D46 Kirkwood, Hilda. "Tell Us Again." The Canadian Forum, June 1975, p. 42. Kirkwood considers Something as an "enormous" advance in craftsmanship over Dance of the Happy Shades, an advance which displays Munro's "new control." Kirkwood compares Munro favourably with V. S. Prichett. The stories are fine literature, not just fine Canadian women's literature.
D47 Stouck, David. Rev. of Something I've Been Meaning to Tell You. West Coast Review, 10 (June 1975), 46-47. Munro's sentences are polished and crafted. Her style is like Magic Realism in painting, and it is also "one of presentation, seldom analysis, always a choreography of concrete detail."
D48 Rudzik, O. H. T. "Letters in Canada: 1974. Fiction." University of Toronto Quarterly, 44 (Summer 1975), 305. Rudzik notes that "the collection of stories achieves a coherent unity through the impress of the sensibility communicated through the individual narratives." The book represents an expansion of Munro's imaginative territory, and the expression of the title is symptomatic of an impulse felt by many of the protagonists.
D49 Tudor, Kathleen. Rev. of Something I've Been Meaning to Tell You: Thirteen Stories. Atlantis [Acadia Univ.], I (Fall 1975), 129-30. Most of these stories are about women who suffer needlessly and who allow themselves to be exploited because of some "flaw" in themselves that does not allow them to pursue their own interests. In "Material," Munro relates the story of a confused and bitter woman who realizes that her ex-husband has used his experiences in his fiction and has been able to create something "perfect." Tudor comments briefly on other stories in the collection before concluding that perhaps a writer must be as self-centred as Hugo in "Material" before he or she can create art. Female writers, like the one in "The Ottawa Valley," seem to find it difficult to become as ruthless as a writer must be.
D50 Barbour, Douglas. Rev. of Something I've Been Meaning to Tell You. Open Letter, ser. 3, No. 3 (Late Fall 1975), pp. 107-10. Barbour lashes out at the tepid reception given the book by Canadian reviewers. He "celebrates" the book and "its striking humanity" as Munro explores "the extraordinary ordinary." This book displays a wider range and a more varied tone than the first two books, and Barbour is especially impressed by the stories that "are first-person exercises in memory": "Material," "The Spanish Lady," and "The Ottawa Valley." "Material" is especially fine.
D51 Thomas, Audrey. "Extraordinary Girls and Women." Canadian Literature, No. 67 (Winter 1976), pp. 85-87. Thomas notes the frequency with which Munro isolates her characters, such that "their world view is in conflict with, or at least juxtaposed upon, another." Her protagonists are adventurers, somehow "compelled" to take risks. They are "fierce, passionate, vulnerable outsiders, and their keen intelligence makes them realize that the best they can do is to be like other people." While there is a great deal of pain in the book, the reader is left with an awareness of the "necessity for . . . human wishes."
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Source: Thacker, Robert (compiler); . Part 2: Works On Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 364-411 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP2.
Item Number: ABCMA05AMP2000005004004003
Record: 285- Title:
- Part 2 Works on Alice Munro; Selected book reviews; The Moons of Jupiter
- Other Title:
- Part 2 Works on Alice Munro; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- Thacker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: MUNRO, Alice; MUNRO, Alice -- Criticism & interpretation -- Bibliography
Titles critiqued: MOONS of Jupiter (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Thacker, Robert (compiler) Part 2: Works On Alice Munroe.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 364-411)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05AMP2
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Source: Part 2: Works On Alice Munroe. Thacker, Robert (compiler); Toronto, Ontario : ECW Press, 1984, pp. 364-411
Part 2 Works on Alice Munro; Selected book reviews; The Moons of Jupiter
Thacker, Robert (compiler)
D70 Mukherjee, Bharati. "Alice Munro's Visionary Lyricism Dazzles." Quill & Quire, Sept. 1982, p. 57. Alice Munro "ranks among the finest short story writers in the English language, and The Moons of Juptter is her strongest collection to date." "Her lyrical eye is more perceptive and intense than ever, but now it is augmented with psychological density.'" "In story after story, Munro's heroines. . . are disabused of their childhood dreams and natural immunities against life's unpleasant quirks. They lose faith." Mukherjee sees "these characters' acceptance of limitations" as peculiarly Canadian. There is not a disappointing story in the collection, and each "turns on a crucial moment." Ultimately, what Munro does in the collection "is give voice to our suppressed moments and secretive selves."
D71 Grady, Wayne. "A House of Her Own." Books in Canada, Oct. 1982, pp. 12, 14. Munro's tradition of "harmony,'" rather than "dissonance with society," "goes back through Eudora Welty and Sherwood Anderson to Gogol and, eventually, to Chaucer and Boccaccio." Her stories are filled with remembered detail. She often begins with a straight narrative and then proceeds to leap backward and forward in time. Through this structure "We get a keener sense of character, which for Munro is always the main purpose of anecdote." In Munro's stories society as filtered through the female narrator's "continuous concern for her own developing personality." Usually, she is in some conflict with what she has "been taught about men."
D72 Solecki, Sam. "Lives of Girls and Women." The Canadtan Forum, Oct. 1982, pp. 24-25. Munro's work shows an ability to define the ordinary without "falsifying its details and tones." Munro recognizes--through her narrators--in this collection that other writers might be dissatisfied with her characters, such is their commonplacedness. Especially so, "yet one leaves" Munro's stories "feeling as if one had just encountered something very unusual." Though sometimes too sympathetic towards her characters--leading to sentimentality--"At her best, Munro offers first- and third-person narrators who are sensitive and reflective and set a tone or mood simultaneously ironic and sympathetic that is almost Munro's signature." Munro's insights are akin to voice-over narration in Truffaut: "... we are invited to reflect, momentarily, on its significance." One of Munro's "quiet strengths" (that distinguishes her from Audrey Thomas, Marian Engel, and Margaret Atwood) is her abiliy to create male characters "who aren't simply stereotypes," negative or neutral figures against whom the usually sensitive women define themselves. There is some weakness in the collection in character portrayal, since Munro is less interested in plot "than in sensibility and the felt quality of an individual response to life."
D73 Black, Barbara. "Munro Delivers Yet Another Superb Collection." The Gazette [Montreal], 16 Oct. 1982, p. A9. Munro's stories are wonderful, and, though "vaguely autobiographical," they do not suffer from it: "... you can take the girl out of the small town, but you can't take the small town out of the girl." Munro has "that special combination of small-town whimsy and urban introspection which has made her one of our most popular and respected authors." About half of the stories are concerned with Old Maids, the other half with the "modern woman." Black describes selected protagonists. These stories "are somehow even clearer and simpler than some of her previous work."
D74 French, William. "The Moons of Jupiter." The Globe and Mail, 16 Oct. 1982, p. E15. Canadian writers are turning "this era into a golden age of short stories," and "one of the reasons is Alice Munro," surely. The Moons of Jupiter is "vintage Munro." Her "ability to convey nuances and imply the ambiguities inherent in human relationships has never been greater," although she may be becoming "a minimalist," forcing us occasionally into a "mimetic sense of being too closely involved with people who aren't all that interesting." Describing the stories, French sees that "... the dominant tone is a kind of poignant melancholy about what might have been." Several stories are singled out for comment, but "Any attempt to sum up Munro's stories inevitably does the author an injustice because it ignores the subtle details, the intricate emotional byplay and the strong sense of place. There's really no substitute for reading them and savoring the skills of one of the greatest short-story writers of our time."
D75 Gervais, Mary. "An Ability to Strike the Right Chords." The Windsor Star, 16 Oct. 1982, p. C9. Munro's stories contain a "careful solemnity and an attractive eeriness," perhaps a Super-Realist trait, or perhaps "just a persistence to detail and image, finding the superb qualities behind nostalgia ....The effect upon the reader is a kind of recognition .... " Gervais discusses the different types of characters included in the stories and notes that, unlike earlier works, these stories are not a suite which share the same traits or characters. Yet "most of her characters . . . are introspective, always wrangling and speculating about their lives." Munro makes them more real "because the lyrical quality of her work strikes the right chord in each of us."
D76 Morley, Patricia. "Munro Explores Familiar Terrain." The Citizen [Ottawa], 16 Oct. 1982, p. 40. Munro concentrates on the "small towns in Western Ontario." The stories range over nearly half a century, while concentrating on modern times." The prevailing viewpoint 'is female." "All readers will acknowledge the craft, the subtlety and sureness of the prose which contains these insights. The vision, however, is harsh to the point of bleakness .... Munro has a sharp eye . . . for the innumerable oddities which are part of human nature . . .[and] the subtleties and painful qualities in relationshaps .... The leaven, in this bittersweet brew, is Munro's ironic humor."
D77 Collins, Anne. "The Fantasy of Perfect Mastery." Maclean's, 18 Oct. 1982, pp. 74-75. Collins describes the relations of Munro's female characters to their men, their wonderings and their uncertainties -- "... none of these women could have stayed in the small towns of southern Ontario. The transformation of self that they sought in men also drove them away to cities where they found public lives." Other doors are opened to "memory and nostalgia; the perceptions of the middle-aged as opposed to those of the young, the code of conduct of Protestant southern Ontario .... " Munro uses her characters "as the knife that lays bare her world."
D78 Kareda, Urjo. "Double Vision." Saturday Night, Nov. 1982, pp. 63-64. Half of these stories are "her most familiarly assured, but there is something unexpected and disruptive in the others": "a new edge of tension" in the prose; this is "a transitional volume." At the centre of Munro's point of view is the double vision--of surfaces and depths--pointed to often by critics. Munro focuses upon "Our cool bargain with life." Kareda applauds Munro's narrative renovations in "Hard Luck Stories." "Alice Munro's great achievement is to make us accept out inability to know" about life's mysteries. "This she accomplishes by the virtuosity of her eye and ear, the exhiliration of her wit, and the steadfastness of her generosity." Though The Moons of Jupiter "lacks the cumulative clout of" Who Do You Think You Are?, it may be "more exciting because of the demands that Munro is now making of herself, and of us."
D79 Timson, Judith. Rev. of The Moons of Jupiter. Chatelaine, Nov. 1982, News & Reviews, p. 10. Munro's female characters-- "teen-age girls 'moving in a trance of gloomy love,' wives practising the dubious art of self-deception, women alone"--are "authentic." Her style contains "wry humor" and is "piercingly direct." Munro "can tell us more about being female than can any other writer in Canada."
D80 Buitenhuis, Peter. Rev. of The Moons of Jupiter. The Reader, I, No. 6 (Dec. 1982), 29-30. Munro's "narrative point-of-view" is generally "of a woman of about her own age." The feeling that constitutes the "unity of tone .... is often born of a tension between past and present: events of the past intersect with and are commented on by emotions of the present .... Munro is superb at the synecdoche: the essence of a character is revealed in a few linked incidents .... Her style seems casual, and often even colloquial, and yet it is as expressive as the story needs. Compressed, elliptic, ironic, metaphoric, her stories yet seem expansive and reclusive .... The Moons of Jupiter confirms Alice Munro's place at the head of contemporary Canadia short-story writers, and will enlarge here reputation far beyond the borders of this country."
D81 Broyard, Anatole. Rev. of The Moons of Jupiter. The New York Times, 16 Feb. 1983, p. C27. Munro writes about " 'The pain of human contact,' " and her characters seek relief, "new definitons of luck." At the same time, many characters crave understanding: "If one could only get at the truth of families . . . one would know how to proceed. If one's family has been a false start, then nothing will hold together." Munro "has a genius for homely images"--The Moons of Jupiter "is filled with squawks, calls, screeches, and cries of a human nature."
D82 Blake, Patricia. "Heart-Catching." Time, 28 Feb. 1983, pp. 71-73. Munro has a "distinctive" voice. From "her naturalistlc, classically composed short stories there rises a melodic line that catches at the heart with its freshness." Munro's characters and settings are ordinary. "Still, only the surface of these characters may be viewed as plain. In her seemingly effortless prose style, Munro has etched portraits of people having underground dramas of high intensity. Her characterizations are swift and telling."
D83 De Mot, Benjamin. "Domestic Stories." The New York Times Book Review, 20 March 1983, pp. I, 26. The Moons of Jupiter is a stronger book than The Beggar Maid: "Witty, subtle, passionate, it's exceptionally knowledgeable about the content and movement--the entanglements and entailments -- of individual human feeling. And the knowledge it offers can't be looked up elsewhere." Munro's content isn't unique--her characters are; they are "Shrewd, amused, self-aware" and "risk takers at heart, plucky, independent, sexually vibrant." Additionally, another pleasure in the book is Munro's gifted evocation of place and "passionate encounter." Though occasionally Munro "fails to curb the garrulousness of one of her first-person narrators," "in the main her sense of style and craft is impeccable, and students of short fiction will find that the pacing and freedom of modulation of a half a dozen of these 11 tales repay earnest scrutiny." At her best, Munro "is an engrossingly truthful 'taker into account' "; her eye is sharply focussed on the nuance of human feeling -- her words frequently reverberate.
D84 Crerar, Tom. "A Sentence to Life." Brick, No. 18 (Spring 1983), p. 10. Crerar describes the characters and settings in the stories. "The climaxes are . . . part of the off-stage life the character bears with him when he enters and that we learn of only in soliloquy, aside and reminiscence, in the set of the mouth, the carnage, the look about the eyes." Many of the concluding passages are "like codas": "... the key phrases suggest imperfect resolution .... " This suggests a plural world "and she observes it with the concentration and sympathy of one who knows how uncertain, inarticulate and short our stay in it is. For the real subject of these stories is not everyday people in everyday places. The real subject is time . . . as a condition, a sentence to life. In this preoccupation and in the narrative technique used to express it, Alice Munro reminds a reader of Chekhov and his plays. Her narratives . . . [are] discontinuous ....In these stories, no future escapes its past ....The present is inescapably now."
D85 De Wiel, Alexa. "Mothers, Moons and Mafiosi." Rev. of A Sleep Full of Dreams, by Edna Alford; Real Mothers, by Audrey Thomas; and The Moons of Jupiter, by Alice Munro. Broadside [Toronto], May 1983, pp. 11, 13. De Wiel admires "the moments captured in a certain relief of character and a particular event." But, regardless of surface differences, ". . . the person in each story is strikingly similar." She is "alone, confused at the seeming lack of substance in her life, defender of womanhood but not of women .... Reason over passion at all times." Sexual passion only evokes "guilt." "I was bored silly reading Moons and felt incensed that a writer of Munro's capacity would write to further the negative image of women. From a great writer one has come to expect more than wooden characters brow-beating each other. One comes to expect understanding, dimension, and insight into the human dialogue, not this mean-spiritedness in the name of realism." The "metred, cryptic style" does not have the "sense of intimacy" or "sweetness" of her earlier works. Munro is a "superb chronicler" of "graphic domestic and geographic" detail. She "has dissected and analyzed" the characters well, but they are "lifeless."
D86 Palmer, Jill. Rev. of The Moons of Jupiter. Scrivener [McGill Univ.], 4, No. 2 (Summer 1983), 30-31. "Munro lays emphasis on the mundane, the everyday .... [She] writes simply with tangible description, bringing to light emotions and perceptions that embellish her uncluttered plots with truth, sensitivity, and undaunted honesty ....Indeed, Munro has discovered the necessity of confronting personal pain and humiliation .... Similar to Laurence and Atwood, Munro plays upon the search for roots, not only family ties but emotional states created by the past are uncovered .... Her symbolism is sharp, often signifying the frustrations of relationships, especially those in the lives of women .... The Moons of Jupiter shows Alice Munro at her best."
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Source: Thacker, Robert (compiler); . Part 2: Works On Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 364-411 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP2.
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- Part 2 Works on Alice Munro; Selected book reviews; Who Do You Think You Are? (The Beggar Maid: Stores of Flo and Rose -- American ed.)
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Titles critiqued: WHO do you think you are (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
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Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 364-411)
ISBN: 920802680 (hardcover)
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Part 2 Works on Alice Munro; Selected book reviews; Who Do You Think You Are? (The Beggar Maid: Stores of Flo and Rose -- American ed.)
Thacker, Robert (compiler)
D52 Fallis, Sheila Robinson. Rev. of Who Do You Think You Are?. Quill & Quire, Oct. 1978, p. 43. Fallis finds this book a "delight," but also a "disappointment" because it represents no real expansion of horizons by Munro. Munro knows her terrain, but her unwillingness to move away from it is "both her greatest strength and her weakness." Fallis considers the relationship between Flo and her mother in the first six stories "one of the subtlest and most finely drawn Munro has created." All the stories reflect her "deceptively simple style."
D53 Grady, Wayne. "Alice through a Glass Darkly." Books in Canada, Oct. 1978, pp. 15-16. Munro's writing has changed; she still evokes the sights and smells of ordinary lives but, though working with the same raw material, "she writes now in a minor, sadder key, and the result is a novel of literary as well as nostalgic value." This review is especially significant in that it alone reviews the version of Who Do You Think You Are? which Munro had pulled from the presses in order to reorganize and delete material.
D54 French, William. "Stamped with the Seal of Quality." The Globe and Mail, II Nov. 1978, p. 40. French emphasizes the theme of the effect of the small Ontario town in the work, and provides a descriptive overview of the texture of the stories.
D55 Mallet, Gina. "Alice Munro: The Mud Underneath the Manicure." Toronto Star, 18 Nov. 1978, p. D7. Mallet observes that Munro's stories reflect the style of The New Yorker, but the "exquisitely turned phrases" are not too refined for the subject, and they emerge as a "commentary on a rough, crude, earthy evocation of Ontario." When Rose becomes middle-aged, she seems to be struggling with the same kind of "identity crisis" she experienced as a child. After she returns to Hanratty to deal with Flo, however, she begins to see herself in a clearer light. Rose is "caught up in the kind of intelligent passivity that has created a female literary tradition." Rose often follows the traditional female role of observing and commenting on situations, and her observations are "often exhilarating, precise, detailed, ironic, oblique."
D56 Abley, Mark. Rev. of Who Do You Think You Are?. Maclean's, II Dec. 1978, p. 62. Abley notes the "trenchant, bittersweet edge" of Munro's humour and suggests that she is "a master of mixed feelings." Abley notes a formal resemblance to Lives of Girls and Women, but finds Who Do You Think You Are? "deeper, wiser, more plaintive." It "has the power of a substantial novel."
D57 Struthers, J. R. (Tim). "Munro's Latest Shows 'Astonishing' Maturity." The London Free Press, 16 Dec. 1978, Sec. B, p. 5. Struthers notes that, while Something I've Been Meaning to Tell You marked a transition in Munro's work and is similar to this book, Who Do You Think You Are? is "much more complex" in its coherence and narrative structure. This structure is described as an "open form," since the stories are connected in a delicate and loose manner, and it reflects Munro's perceptions about the complexities of life. Rose's development is deeper than Del Jordan's, expressing Munro's broadening "psychological perceptions."
D58 Edwards, Catrina. "Language and Self." Branching Out, 6, No. 3 (1979), 43. Munro uses the same style and subjects of her earlier fiction in Who Do You Think You Are?. The stories seem "at first like a string of loosely connected, meandering anecdotes." The presentation of Flo, who is like "the stepmothers in fairy tales," reveals the "darker side of the mother-daughter relationship." Edwards also notes that the phrase, "who do you think you are," highlights the problems of both pretension and identity."
D59 Kareda, Urjo. "The War within Alice Munro's Heroine." Saturday Night, Jan.-Feb. 1979, p. 62. Munro has the "ability to isolate the one detail that will evoke the rest of the landscape." Her "instinct about the way in which we translate ourselves, the routes of fear or vanity or self-deception by which we allow ourselves to be deflected from the road we long ago mapped out, is what gives her writing its urgency and its heartbeat."
D60 Williamson, David. "Alice Munro: Is She the Best Canadian Writer?". Winnipeg Free Press, 17 Feb. 1979, Sec. Insight, p. 13. Munro's stories are just as good as John Cheever's. She is "Unpretentious, sincere," and "wants only to convey the way women are, the way people are, the way women feel about men."
D61 Taylor, Michael. Rev. of Who Do You Think You Are?. The Fiddlehead, No. 121 (Spring 1979), pp. 125-27. Rose is like all of Alice Munro's protagonists, especially Del Jordan. Who Do You Think You Are? can be regarded as "a novel, as a kind of Bildungsroman," and its structure is similar to that of Lives of Girls and Women. After observing the wide range of publications where the stories were first published, Taylor notes that her work attracts a variety of readers. This book is different from her earlier fiction in its "deepening of the strain of melancholy and sense of waste."
D62 Soleckl, Sam. "Letters in Canada: 1978. Fiction." University of Toronto Quarterly, 58 (Summer 1979), 319-20. Munro has adhered too closely to the formulae of feminist fiction, of writing by women about women. She has not gone "much beyond what she had already achieved in the mode in Lives of Girls and Women and in her earlier stories." She is best when she is describing Rose's girlhood in Hanratty, though her minor characters (such as Patrick) are consistently good. Rose's relations with her daughter, Anna, are flatly rendered and Rose herself is not "a sufficiently interesting individual," and therefore is "not sufficiently realized."
D63 O'Faolain, Julia. "Small Town Snobbery in Canada." The New York Times Book Review, 16 Sept. 1979, p. 12. Munro handles her material well and "manages to reproduce the vibrant prance of life while scrutinizing the workings of her own narrative art."
D64 Oates, Joyce Carol. "Rich Texture." Mademoiselle, Oct. 1979, pp. 72, 74. Although Munro deals with familiar subjects, the "rich texture of its narration and the author's graceful style" make this her strongest book to date. The technique of tracing Rose's life as a child while having "the advantage of Rose's voice, narrating, in effect, from the future" is sometimes jarring, but usually "dramatically powerful." The story of Rose's courtship and marriage in "The Beggar Maid" belongs in the context of a novella. While the intensity of the stories diminishes as Rose grows older, they are "wonderfully gripping when focused upon the odd, uncharming, disturblng characters of mythical Hanratty."
D65 Wilner, Paul. "Virtue Wins." The Village Voice, 15 Oct. 1979, p. 42. Munro is "a writer of rare if uncelebrated talents," and The Beggar Maid reveals a "deliberate air of fairy tales." "Alice Munro's fiction demonstrates that the literature of sensibility, as well as sentiment, is far from dead." She reveals women characters' imaginative and personal growth without recourse to feminist cliches.
D66 Oates, Joyce Carol. "The Canadian Inheritance: Engel, Munro, Moore." Rev. of The Beggar Maid: Stories of Flo and Rose, by Alice Munro; The Glassy Sea, by Marian Engel; and The Mangan Inheritance, by Brian Moore. The Ontario Review, No. II (Fall-Winter 1979-80), pp. 87-90. Oates analyzes the problem of individual identity; Munro continually sends Rose back to Hanratty--in her imagination as well as literally. The tales are told with Munro's "usual lyric precision." The book is a novel, not a collection of stories, and it ultimately shows that "men are angry with women; men are afraid of women?"
D67 Edwards, Thomas R. "It's Love!'. The New York Review of Books, 6 March 1980, pp. 43-44. Munro's book is one of "quiet eloquence." "It refuses to say more than is needed" and so "is very fine."
D68 Hollinghurst, Alan. "Elapsing Lives." New Statesman, 25 April 1980, pp. 630-31. "A work of great brilliance and depth." Hollinghurst relates the "moral delusiveness of the past" to the far less inviting present. Munro's "power of analysis is almost Proustian in its sureness." Hollinghurst stresses the way in which Munro's vision disaffects and startles by its clarity.
D69 Bradshaw, Leah. "Portraits in Women's Literature." Queen's Quarterly, 87 (Autumn 1980), 458-62. Bradshaw reviews the book from a political perspective along with books by Margaret Atwood, Susan Musgrave, and Marilyn Bowering. Bradshaw sees Munro's "novel" as depicting a struggle "between nature and convention," and draws attention to Rose's childhood poverty and its constraining effects on her growth. Despite her appreciation of Munro's style, Bradshaw is annoyed by the "lack of critical perspective" in the book and, additionally, by "the underlying message of the book: that women have a special insight into the profundity of life that escapes men."
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Source: Thacker, Robert (compiler); . Part 2: Works On Alice Munroe, Toronto, Ontario : ECW Press, 1984. pp. 364-411 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05AMP2.
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Record: 287- Title:
- Part 2 Works on Ethel Wilson; Book, articles and sections of books, bibliographies, theses and dissertations, interviews, audio-visual material, and awards and honours; Articles and sections of books
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- Part 2 Works on Ethel Wilson; Book, articles and sections of books, bibliographies, theses and dissertations, interviews, audio-visual material, and awards and honours
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- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
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Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 430-477)
ISBN: 920802680 (hardcover)
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Part 2 Works on Ethel Wilson; Book, articles and sections of books, bibliographies, theses and dissertations, interviews, audio-visual material, and awards and honours; Articles and sections of books
McComb, Bonnie Martyn (compiler)
C2 Prowd, Pat. "Local Author's First Novel Makes Public Bow Today." Vancouver News-Herald, 9 May 1947, p. 7. Based on an interview with Wilson, Prowd's profile reveals Wilson's knowledge of literature, admiration for Gabrielle Roy, and preference for humorous writing.
C3 MacKay, Constance. "Vancouver's New Novelist." Mayfair, Nov. 1947, pp. 67, 101. An interesting biographical article based on interviews with Wilson and her friends. MacKay discusses Wilson's life from childhood to the writing of Hetty Dorval; she includes information about Wilson's relationship with her aunts and grandmother who feared "the contaminating influence of the Anglican prayer book" in the newly opened Crofton House; about a bimonthly bulletin, Vancouver Calling, that Wilson wrote and which contained imaginative features entitled "Excerpts from the Diary of Samuel Pepys Junior of Vancouver, B.C." and a record of "My Aunt Flo" with her friends Mrs. Mink, Mrs. Mole, and Mrs. Masterman; and about The Innocent Traveller, which Wilson intended to call "Portraits of Topaz."
C4 Aldham, Francis. "Leaves from a World of Books: Canada as We See It Here and Now." Saturday Magazine [Vancouver Province], 4 Sept. 1948, p.4. In this eulogy to the journal here and now, Aldham discusses the publication of a chapter from Wilson's The Innocent Traveller, calls Hetty Dorval one of Canada's most significant novels of the previous year, and includes some information about the Vancouver of Topaz's time.
C5 "Ethel Wdson: A Biographical Note on the Author of The Innocent Traveller.'" The Narrator, July 1949, pp. 27-28. The author says that Hetty Dorval had an immediate success and was the Recommendation of The Narrator Book Club in July 1947, and "Nothing we can say of Ethel Wilson's wriring will give you the fine quality of it, the feeling of precision, the gentle, understanding irony." The article includes five excerpts from The Innocent Traveller and standard biographical information.
C6 Pacey, Desmond. Creative Writing in Canada: A Short History of English-Canadian Literature. Toronto: Ryerson, 1952, pp. 235, 25z, 256-58. Rev. ed. Toronto: Ryerson, 1961, pp. 235, 25z, 256. Pacey includes Wilson in a list of authors who produced a substantial body of work during the fifties. After a brief description of Wilson's style, Pacey traces the theme of innocence in conflict with experience through her novels.
C7 Young, Cy. "Shortcut to Success." The Vancouver Sun, 5 July 1952, p. 18. Basing his article on an interview, Young reveals many insights into Wilson's thoughts, life, and travels.
C8 Livesay, Dorothy. "Ethel Wilson: West Coast Novelist." Saturday Night, 26 July 1952, pp. 20, 36. Livesay discusses the years before Wilson began writing books, recalling that she had a "habit of 'talking a story out loud.'" This profile traces Wilson's life from her childhood in England through her early years inBritish Columbia and records the publication history of her first three books. Though Wilson says "I know I have only a teaspoon of talent," Livesay feels Wilson's "style has the clarity and irony comparable to Jane Austen and Samuel Butler."
C9 Pacey, Desmond. "The Innocent Eye: The Art of Ethel Wilson." Queen's Quarterly, 61 (Spring 1954), 42-52. Rpt. in Essays in Canadian Criticism 1938-1968. By Desmond Pacey. Toronto: Ryerson, 1969, pp. 90-100. Pacey selects the first paragraph of Hetty Dorval to illustrate characteristic qualities of Wilson's fiction: casual tone and manner, "quiet restraint," humour, a love of nature, and an "ear for colloquial language." He traces her development as a writer from her first story, stating that each book has revealed an improvement in her skill. Presenting a brief biography, he notes her favourite authors and speculates upon the influences of Defoe, Forster, Proust, Trollope, and Arnold Bennett. Wilson's work convincingly expresses a concern wtth individuals who are "sincere, honest, and integral," but her technique is the most distinctive, especially her "unobtrusive prose style," her treatment of time, and her characterization.
C10 Callaghan, Morley. "Writers and Critics: A Minor League." Saturday Night, 6 Nov. 1954, pp. 32-33. Callaghan criticizes what he sees as Canadian reviewers' cowardice when Wilson's The Equations of Love was passed by for the Governor-General's Award. The medal would have been only a small recognition of one of the few writers in Canada with an identity.
C11 "Vancouver Author on CBC Wednesday Night." CBC Times, 23-29 Sept. 1956, p. 1. This article introduces Wilson reading an extract from "Tuesday and Wednesday" and an excerpt from Love and Salt Water. Her novels have a quiet realism, but are "strikingly different from the tough, almost hysterical quality that often gets the description 'realistic.'" Her direct but balanced prose makes her work admirably suited for reading aloud.
C12 Daniells, Roy. "Poetry and the Novel." In The Culture of Contemporary Canada. Ed. Julian Park. Ithaca, N.Y.: Cornell Univ. Press, 1957, pp. 40-42. With unreserved praise, Daniells thinks Wdson's "forte" is "the line by line texture of the style, unobtrusively guiding the feelings of the reader." Wilson's "favourite character is that of a girl who by flight, effort, luck, and judgement escapes from an impossible situation and saves herself for another kind of life."
C13 Watters, R. E. "Ethel Wilson, the Experienced Traveller." British Columbia Library Quarterly, 21, No. 4 (April 1958), 21-27. At the beginning of this article, Watters intentionally contrasts his view of Wilson as the experienced traveller with Pacey's view of Wilson as the innocent traveller. Watters believes Wllson's experienced eye searches for the depths and undercurrents beneath the surface of life, for the irrationality of circumstances, of cause and effect, and of life. Watters includes biographical information, an analysis of Wilson's novels, and some of Wllson's opinions from the manuscript of an informal talk at the University of British Columbia, entitled "Somewhere Near the Truth."
C14 Richler, Mordecai. "Books." The Montrealer, May 1958, p. 5. Richler says that Wilson is a Canadian writer "true and blue" who gets "uncommonly good reviews."
C15 Fisher, D. M. "Government Defines Obscenity." Quill & Quire, Aug.-Sept. 1959, p 22. One of Wilson's plays was described by the Senate committee investigating "salacious and indecent literature in 1952 and 1953" as "a most indecent and obscene thing and that the CBC should never have been allowed to produce it." The play is not identified.
C16 Stainsby, Donald. "Short Story Challenges Poetry as Canada's Top literary Form." Rev. of Canadian Short Stories, ed. Robert Weaver. The Vancouver Sun, 9 July 1960, p. 5. A comment that the blrthdate order of Robert Weaver's anthology Canadian Short Stories, which places Wilson immediately after Charles G. D. Roberts, D. C. Scott, and Stephen Leacock, may "shock the reader, for her fine and sensitive work . . is as modern as young Mr. Richler."
C17 "City Writer, Artist Win Medals from Canada Council." Vancouver Province, 8 Sept. 1961, p. 3. Brief biographical information.
C18 "New Canada Council Medals Go to 2 Vancouver Residents." The Vancouver Sun, 8 Sept. 1961, p. 23. Along with several other people, Ethel Wilson and Lawren Harris each receive medals and $2,000 for making major conributions in the arts, humanities, or social sciences.
C19 Pacey, Desmond. Introduction. In Swamp Angel. New Canadian Library, No. 29. Toronto: McClelland and Stewart, 1962, pp. 5-10. Pacey discusses Wilson's matter-of-fact style, avoidance of melodrama by "patient fidelity to fact," deceptive simplicity, and vivid characterization. Viewing Wilson as a "Christian humanist," Pacey observes that this book expresses a "modest affirmation of man's capacity to endure, to suffer, to love." Maggie seems to embody this philosophy, while Nell Severance articulates it. Pacey discusses Wilson's "innocent eye," her ability to "look unflinchingly at all aspects of creation, its cruelty and its tenderness." He concludes with a consideration of the novel's title and central symbol, the Swamp Angel, and suggests a number of interpretations of its significance.
C20 Hale, Barrie. "Monster Characters." Rev. of Ten for Wednesday Night, ed. Robert Weaver. Canadian Literature, No. II (Winter 1962), pp. 58-60. Hale attempts to identify the flaw in "From Flores." He sees neat, pat, simply sketched characters. Even though Hale considers "From Flores" powerfully sensual, he thinks it poses a riddle: "If the central character in a short story is essentially unknowable by nature, how may such a story be written satisfactorily?"
C21 Dobbs, Kildare. "Writers Follow No Native Tradition." Times Supplement on Canada, 26 Feb. 1962, p. xix. The absence of a native tradition has not hampered fiction writers like Wilson. Both Robertson Davies and Ethel Wilson live in provinces which have "sentimental ties with England" and they write in a "British vein."
C22 West, Paul. "Canadian Fiction and Its Critics." Rev. of The Masks of Fiction: Canadian Critics on Canadian Prose, ed. A. J. M. Smith. The Canadian Forum, March 1962, p. 266. West briefly refers to Wilson's "rambling and back-firing" in "A Cat among the Falcons" in his article on the lack of critical discrimination and emotional response by dull Canadian critics.
C23 Parsons, Louella. "Roman 'Front' Quieter." Seattle Post-Intelligencer, 26 March 1962, p. 29. Parsons claims that Sol Selger will start casting and directing, for MGM, a movie based on "Lilly's Story" to be called "Feather in Her Hat."
C24 Shrive, Norman. "What Happened to Pauline?". Canadian Literature, No. 13 (Summer 1962), pp. 25-38. A brief reference to Wilson's delightful memoir, "The Princess" (B142), which was inspired by Pauline Johnson's Legends of Vancouver.
C25 McDougall, Robert L. "The Dodo and the Cruising Auk: Class in Canadian Literature." Canadian Literature, No. 18 (Autumn 1963), pp. 12-13, 14, 18. Rpt. in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Patterns of Literary Criticism, No. 9. Chicago: Univ. of Chicago Press, 1971, pp. 222-23, 225, 229. Rpt. Rev. ed. Toronto: Univ. of Toronto Press, 1977, pp. 222-23, 225, 229. McDougall includes Wilson in a list of well-educated, well-to-do authors from professional backgrounds who, because of their "monolithic uniformity," could not be expected to have a dynamic view of society or genuine feeling for the problems of social mobility. Yet he considers Wilson's social awareness in "Lilly's Story" one of the few exceptions, "though Ethel Wilson writing 'Lllly's Story' is Jane Austen writing Sister Carrie."
C26 Khick, Carl F. "Lorne Pierce Medal: Mrs. Ethel Wilson." Royal Society of Canada, Ser. 4, 2 (1964), 63-64. Klinck provides a brief history of Wilson's life and writing career as well as a brief overview of what he describes as her sensitive qualities, her awareness of the deep entanglements in human relationships, and her reception by the critics.
C27 "Ethel Wilson (1890- )." In Ecrivains Canadiens/Canadmn Writers: A Biographical Dictionary. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Toronto: Ryerson, 1964, pp. 138-39. Rpt. in Canadian Writers/Ecrivains Canadiens: A Biographical Dictionary. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Rev. and enl. ed. Toronto: Ryerson, 1966, pp. 155-56. Bio-bibliographical comments.
C29 McPherson, Hugo. "Fiction 194O-1960." In Literary Htstory of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 694, 702, 707, 708-09, 711, 712, 720, 721-22. Rpt. 2nd ed., 1976. Vol. II, 205, 214,219-21, 223, 225. McPherson places Wilson with several other authors who underlie the new Canadian consciousness in the forties, who mapped out important areas of the Canadian terrain inconnu, and who in the "throes of self-discovery" reject the stolid provincial mask and "come into presence." He sees Wilson as one of the most serene and mature speakers for "individual and communal consciousness"; an artist and a sybil who tells her tales with delicacy and astringent sympathy, whose art is "erratically objective and personal, traditional and adventurous," artless and sophisticated, but in all her excellence, "the sybil and the artist are never quite in harmony." Her parentheses create an uncertainty in point of view and an abruptness in narrative method that diminish the spell of her novels, but not her short stories. McPherson includes an analysis of the themes of the novels.
C30 Sonthoff, Helen W. "The Novels of Ethel Wilson." Canadian Literature, No. 26 (Autumn 1965), pp. 33-42. Rpt. (excerpt) in Contemporary Literary Criticism. Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIII. Detroit: Gale, 1980, 606-08. Although Sonthoff feels that tone is the most distractive element in Wilson's novels, she focuses her discussion on the different points of view and narrative lines emerging in the works. Hetty Dorval shifts point of view and includes passages that do not seem to have any essential relevance to the plot. In The Innocent Traveller, "scenes occur as if by chance" and point of view moves from one character to another, in Tuesday and Wednesday the loose arrangement of the episodes reinforces the idea of the influences of accidents and coin- cedences and the author's voice is conversational, whereas Lilly's Story presents a restricted development of the narrative and the point of view rarely shifts. Swamp Angel's narrative line is more flexible, while Love and Salt Water presents a divided narration and several points of view.
C31 "In Memoriam: Wallace Wilson 1888-1966." British Columbia Medical Journal, 8 (1966), 224, 225, 228, 230, 232, 234, 235, 236. Ethel Wilson is often mentioned in this collection of tributes and memories written by friends of Wallace Wilson's. Norman MacKenzie's tribute says "Wallace and Ethel were among the most civilized, cultured and interestlng people I have even known"; they were both modest and kindly, but stimulating and wise; and they had a special interest in the university and the library. Other tributes mentin the personal financial gifts such as the Wilson Recording Library and Listening Room, Dr. Wilson's dedicated service in which he had always been so devotedly assisted by his wife, and the charm and talent of Ethel Wilson.
C32 Pacey, Desmond. "Ethel Wllson's First Novel." Canadian Literature, No. 29 (Summer 1966), pp. 43-45. Rpt. [revised--"Hetty Dorval" (1947)] in Ethel Wilson. By Desmond Pacey. Twayne's World Authors Series, No. 33. New York: Twayne, 1967, pp. 44-62. In this often-quoted article, Pacey looks at Hetty Dorval as a mystery story and a series of dramatic scenes each a unit in itself. He analyzes the opening scene in detail pointing out how it reveals theme, creates suspense, and reveals Wilson's talent and interests. Wilson has an "inspired sense of place," is a superb regionalist, and has a descriptive gift that is not only sensitive to landscapes and human gatherings, but has the ability to convey the essence of animal and bird behaviour. Although it is possible to see an allegory in the classic confrontation of innocence and experience, Pacey says this would grossly oversimplify the moral and psychological subtlety of the book. He discusses two thematic patterns--the flight of the wild geese and Donne's "No man is an island"-- and describes the seesaw of conflicting moral philosophies and conflicting personalities. On first reading, Pacey says the morally and physically two-faced Hetty is the most interesting character, but on second reading the changing Frankie is more intriguing. He discusses Wilson's metaphors and similes and clever modulation of voice, but finds a flaw in her style: "She is rather too prone to adopt the old-fashioned device of authorial comment, to intrude into the flow of her narrative little chunks of personal philosophy." A comparison of his conclusion in this article and his later revision in Ethel Wilson reveals his strengthened belief that Hetty Dorval is only an apprentice novel. (See Beverley Mitchell's "In Defence of Hetty Dorval" [C80] for an opposing view. In a footnote to "Serious Whimsy" [C74] R. D. MacDonald thinks Pacey's view of Hetty Dorval and Wilson is too tame and too harmlessly optimistic.)
C33 Story, Norah. "Wilson, Ethel (1890- )." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, p. 831. Story provides a brief biographical sketch, focusing on Wilson's writing career. She notes that Wilson reveals an "ironic wit" in her work, yet "lets her broad sympathies soften observations that border on cutting social saute." Her fiction deals with individuals who search for fulfillment despite pressures from their physical and social environments.
C34 Stephens, Donald. "An Outside View." Rev. of Modern Canadian Stories, ed. Giose Rimanelli and Roberto Ruberto. Canadian Literature, No. 34 (Autumn 1967), p. 87. "Contrasted to them [Morley Callaghan and Hugh MacLennan] is Ethel Wilson who appears to be at home in both genres. Her stories have a natural feminine charm, and well they should!"
C35 Hambleton, Ron. "The Two Worlds of Ethel Wilson." Narr. Ron Hambleton. Prod. Beatrice Payne. CBC Tuesday Night. CBC Radio, 28 Nov. 1967. This production explores the areas of Wilson's chief interests: Vancouver and the interior of British Columbia. What Vancouver and the interior mean to her and what she was like as a woman and a writer are revealed by a number of people who knew her, by comments by Ron Hambleton, and through illustrative examples of her work.
C36 New, William H. "The Irony of Order: Ethel Wilson's The Innocent Traveller." Critique: Studies in Modern Fiction, 10, No. 3 (1968), 22-30. Rpt. in Articulating West: Essays on Purpose and Form in Modern Canadian Ltterature. By William H. New. [Three Solitudes: Contemporary Literary Criticism in Canada, No. I.] Toronto: new, 1972, pp. 83-92. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Wrtters. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIII. Detroit: Gale, 1980, 608-09. The dominant tone of The Innocent Traveller is irony. New examines the nature of Topaz's innocence, which he sees as Blakean and which he regards as being dependent upon a particular kind of environment that allows it to exist. Irony emerges in Topaz's need for a "curious combination of confinement and freedom" and in her ambiguous responses to time, history, and change. The Innocent Traveller is deceptively simple since "under its surface lie deeps of emotional impact and intellectual perception."
C37 New, William H. "The 'Genius' of Place and Time: The Fiction of Ethel Wilson." Journal of Canadian Studies, 3 (Nov. 1968), 39-48. Rpt. in Articulating West: Essays on Purpose and Form in Modern Canadian Literature. By William H. New. [Three Solitudes: Contemporary Literary Criticism in Canada, No. 1.] Toronto: new, 1972, pp. 68-82. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, p. 375. New traces the effect of place and time, or "genius," on Wilson's characters. Like Hetty Dorval, Topaz of The Innocent Traveller "grows old, though not up." Although time involves changes, neither of these characters seems affected by their physical or temporal environment over the years. In Equations of Love, a place forms the identities of the characters, and they too do not respond to change. Maggie attempts to find her own "place" in Swamp Angel and exemplifies the fluidity of identity that results from the effects of time and change on a receptive individual.
C38 Richardson, Sallyann. "Wdson, Ethel (1890- )." In Twentieth Century Writing: A Reader's Guide to Contemporary Literature. Ed. Kenneth Richardson. London: Newnes, 1969, p. 658. Richardson notes that Wilson has a "highly personal and idiosyncratlc style" and that her books are more concerned with themes than plots. Equations of Love is an experimental work using multiple points of view, and Swamp Angel is memorable for its presentation of the "magnificent literary creations" of Mrs. Severance and Maggie Lloyd.
C39 Woodcock, George. Canada and the Canadians. Toronto: Macmillan, 1970, p. 259. In a paragraph discussing Vancouver as a literary centre after the war, Woodcock says Wilson has "woven the donnees of her environment into a series of highly sophisticated, ironical and dry-humoured recits." He briefly mentions Wilson's writing history, her acute and careful sense of style, and her novels set in Vancouver as being "as universal in their intent as good nature poems."
C40 "Medal of Service to Writer." Vancouver Province, 23 Dec. 1970, p. 23. A brief article that mentions Wilson's accomplishments and apologizes for omitting her name in a previous article that listed the recipients of the Order of Canada's Medal of Service.
C41 Stainsby, Donald. "Books and Bookmen." The Vancouver Sun, 15 Jan. 1971, p. 32A. Stainsby's "feeling of deep affection for Ethel Wilson" and delight that she should receive the Medal of Service of the Order of Canada sparked this tribute. He discusses Wilson's novels, Wilson as a writer, and Wilson as a person. According to Stainsby Wilson is a private person who is "ready to battle for principle," and is one of the few British Columbians to produce a body of truly literary work. Wilson is an imposing socially acceptable name in the "Vancouver scene."
C42 Birbalsingh, Frank. "Ethel Wilson: Innocent Traveller." Canadian Literature, No. 49 (Summer 1971), pp. 35-46. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1979, pp. 375-76. Through commentary on Wison's novels and short stories Birbalsingh traces the theme of human beings living on the "brink" of an unpredictable future. Rather than question the chaotic universe or analyze the actions described in her writing, Wilson instils a gift for fantasy and a flavour of whimsmality in her characters to enable them to face grief or injury.
C43 Hertzel, Leo J. "Some Commonplace Thoughts on Canadian Fiction & Culture." North American Review, 256, No. 3 (Fall 1971), 36, 38-39. Hertzel discusses Canada's national identity crisis and its effect on Canadian literature and examines the emerging themes, attitudes, and concerns that seem peculiar to the Canadian experience in fiction. Swamp Angel encompasses two of these themes: a strong female character has a weak, vulgar husband, and nature is ennobling and purifying. Wilson is included on a list of Canadian writers who have written at least one if not several good novels.
C44 McLay, Catherine M. "Every Man Is an Island: Isolation in 'A Jest of God.'" Canadian Literature, No. 50 (Autumn 1971), p. 57. McLay echoes Wilson's epigraph in Hetty Dorval as an introduction to her article about Margaret Laurence. After saying that Wilson "beheves in human community" and "examines the effect upon mankind of the wilful isolation of one of its members," McLay suggests that Laurence provides a "complementary truth" that every man is an island.
C45 Kaye, R. G. "A Brief History of the Wilson Recordings Collection in the U.B.C. Library." British Columbia Library Quarterly, 36, Nos. 2-3 (Oct.-Jan. 1971-72), 34. A brief reference acknowledging the contribution of Wallace and Ethel Wilson to the university and the library.
C46 Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, p. 199. Rpt. ("Ice Women v. Earth Mothers: The Stone Angel and the Absent Venus") in Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, p. 228. Atwood includes a reference to Nell Severance from Swamp Angel as a "Wise Old Woman" or Hecate figure.
C47 New, William. "Modern Fiction." Read Canadian: A Book about Canadian Books. Ed. Robert Fulford, David Godfrey, and Abraham Rotstein. Toronto: James Lewis & Samuel, 1972, pp. 223-24. In this historical overview of Canadian fiction, New notes that in Wilson's writing the land acquires a distinct, personal character as it does in other Canadian writing, but Wilson's characters are more capable of living in harmony with it. "One of the most masterfully subtle Canadian stylists, Ethel Wilson concentrates on character rather than on event, and quietly, gently, insists on the power of commitment itself, the enduring human capacity for choice even in apparently constricting environments and in the face of ineluctible time."
C48 Pacey, Desmond. "Wilson, Ethel." In Contemporary Novelists Ed. James Vinson. New York: St. Martin's, 1972, pp. 1385-86. 2nd ed., 1976, pp. 1522-24. Ethel Wilson is a novelist who is difficult to categorize since she fits into many slots. Hers is an art that achieves its effect with the maximum of economy and the minimum of fuss. Two or three essentially simple themes run through all her novels and stories: innocence, courage, and love. Her vision is an affirmative one, but is far from facile and remarkably free of cant. Pacey includes brief bio- and bibliographical data.
C49 Reference Division, McPherson Library, University of Victoria, B.C., comp. "Wilson, Ethel Davis Bryant 1888- ." In Creative Canada" A Biographical Dictionary of Twentieth Century Creative and Performing Artists. Vol. II. Toronto: Univ. of Toronto Press, 1972, 287. Bibliographical and brief biographical data.
C50 Thomas, Clara. "Ethel Wilson 1890- ." In Our Nature, -- Our Voices: A Guidebook to English Canadian Literature. Vol. I of Our Nature-- Our Voices. Toronto: new, 1972, pp. 103-06. Includes a brief biographical summary, analyses of novels, and a bibliography. Two interesting observations are that Wilson's women do not have the power or pathos of a Mrs. Bentley or a Hagar, but that "their power lies in the subtlety of their presentation and not in its passion," and that the characters develop from a tradition that explores the nuances of morality, rather than its great absolutes.
C51 Watters, Reginald Eyre. "Wilson, Ethel Davis (Bryant), 1890- ." In his A Checklist of Canadian literature and Background Materials 1628-1960. 2nd ed. Toronto: Univ. of Toronto Press, 1972, p. 419. Bibliographical data.
C52 McLay, Catherine M. "The Initiation of Mrs. Golightly." Journal of Canadian Fiction, 1, No. 3 (Summer 1972), 52-55. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIII. Detroit: Gale, 1980, 609-10. McLay analyzes a number of aspects of "Mrs. Golightly and the First Convention," focusing on the deceptive yet effective simplicity of its theme and style. She compares Wilson's comic style with that of Stephen Leacock and notes how techniques such as apparent naivety, exaggeration, and repetition reinforce the development of plot and characterization. Despite its comic tone, the story is concerned wlth the serious theme of "individual isolatin and the sense of being 'out of place' among the members of one's society."
C53 Urbas,Jeannette. "Equations and Flutes." Journal of Canadian Fiction, I, No. 2 (Fall 197Z), 69-73. Urbas compares and contrasts the social factors and artistic approaches to reality in the novels of Ethel Wilson and Gabrielle Roy. Although she discovers significant differences in their portrayal of poverty, family size, impact of the war, variety of races, marriage and sexuality, consciousness of the social status of women, and presentation of characters, she also discovers similarities in their creation of memorable, realistic, arid compassionate women. Wilson presents her characters with detachment and distance, while Roy immerses the reader in the sufferings, joys, and loves. Urbas summarizes this different approach by comparing the two titles, The Equations of Love and The Tin Flute.
C54 Gnarowski, Michael. "Wilson, Ethel, 1890- ." In his A Concise Bibliography of English-Canadian Literature. Toronto: McClelland and Stewart, 1973, p. 125. Rpt. (revised- "Wilson, Ethel, 1888- ") in his A Concise Bibliography of English-Canadian Literature. 2nd ed. Toronto: McClelland and Stewart, 1978, pp. 144-45. Bibliographical data.
C55 Howard, Irene. Bowen Island 1872-1972. Victoria: Morriss, 1973, pp. 63, 69, 70, 71, 72, 91, 92. Howard discusses the history of the Malkins, Ethel Wilson's maternal family, and Dr. and Mrs. Wilson's summer cabins on Bowen Island.
C56 Walsh, William. "Canada." Commonwealth Literature. London: Oxford Univ. Press, 1973, pp. 82-83. Walsh compliments Wilson's experiments with genre and mode, but considers that these allow a "prophetic or mystical aim to disrupt the flow of her art."
C57 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 73-74, 108, 181. Swamp Angel encases all versions of the Canadian lady in its wit and in that "Maggie's is a triumph of withdrawal rather than of commitment." Wilson is among our several best prose writers and poets whom Waterston calls "late apples."
C58 Weaver, Robert, and William Toye. "Ethel Wilson." In The Oxford Anthology of Canadian Literature. Ed. Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 517-18. A biographical portrait that concentrates on Wilson's writing history and quotes Frank Birbalsmgh (C42): "'The two essential features of Mrs. Wllson's fiction . . . are her illustration of the inimical capacity of the future and a predilection for a whimsicality that evokes the supernatural realities behind everyday appearances.'" Wilson "has been an ardent correspondent."
C59 Woodcock, George. "Away from Lost Worlds: Notes on the Development of a Canadian Literature." In Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, pp. 211, 216-17. Woodcock includes Wilson among a list of some of the best writers who have avoided a close connection with universities. He considers Wilson a major Canadian novelist and feels she has "woven the donnees of her environment into a series of highly sophisticated, ironical, and dry-humoured recits." Although much of her work is set in British Columbia, her books are "universal in their intent."
C60 Hinchcliffe, R M. "'To Keep the Memory of So Worthy a Friend': Ethel Wilson as an Eleglst." Journal of Canadian Fiction, 2, No. 2, (Spring 1973), 62-66. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIII. Detroit: Gale, 1980, 610-12. Similar to John Heminge and Henry Condell (whom Ethel Wilson admired for preserving and passing on Shakespeare's achievements), Wilson preserves and passes on the sense of culture, region, and life of the people of British Columbia. Not only is Wilson's writing a memorial to British Columbia, but the nature of memory, with its responsibilities, is an integral part of the characters in her novels.
C61 Woodcock, George. "Getting Away from Us All." Maclean's, June 1973, p. 96. In this article about British Columbia writers, Woodcock includes Wilson in a list of expatriate writers, discusses Love and Salt Water among a few books that best convey the feel and body of life in British Columbia, and notes that "Pacific lierary sensibility" began to come into being at the time when Wilson began to publish her novels.
C62 "Ethel Wilson(1888- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, p. 246. This biographical sketch focuses on Wilson's early life and the literary awards she has received. Her writing career is also briefly noted.
C63 Engel, Marian. "Canadian Writing Today." Creatwe Literature in Canada Symposium, Hart House, Univ. of Toronto. 7-8 March 1974. Printed in Creative Literature in Canada Symposium. Toronto: Univ. of Toronto, 1974, pp. 2-9. The Tamarack Review made Ethel Wilson. "She was an older British Columbia writer, an English woman; that was why she had no inhibitions about becoming a writer." In addition, Engel lists a number of books that she feels most Canadian libraries should have: three of her own, and none of Wilson's.
C64 Moss, John. Patterns of Isolation in English Canadian Fiction. Toronto: McClelland and Stewart, 1974, pp. l06, 109, 111, 121, 127, 129-32, 139-48, 155. Moss identifies and compares the isolation patterns generated by the "geophysical imagination" in Wilson's Swamp Angel and Thomas Raddall's The Nymph and the Lamp. In the context of analyzing the environment as a "metaphor and analgesic for Maggie's changing emotional state," Moss examines Maggie's sexuality and relationships with man and nature, traces Maggie's journey of discovery into a mature consciousness, and discusses Maggie's reconciliation of what he calls substance and essence.
C65 Tretheway, David. "Alienated Adam: The Voyageur." Copperfield, No. 5 (1974), p. 30. In this issue, which is organized around Canada's "land-roots literature," Tretheway suggests that the coureur de bois and voyageur are at the base of the Canadian consciousness. He describes Maggie Vardoe as a contemporary voyageur because of her close associations with the river, her move towards freedom through the wilderness, her discovery of a greater humanity in her association with the wilderness, and her rejection of the Old World.
C66 Urbas, Jeannette. "The Perquisites of Love." Canadian Literature, No. 59 (Winter 1974), pp. 6-15. Rpt. in The Canadian Novel in the Twentieth Century: Essays from Canadian Literature. Fd. George Woodcock. New Canadian Library, No. 115. Toronto: McClelland and Stewart, 1975, pp. 57-66. Urbas explores the various types and degrees of love experienced by major and minor characters in Wllson's novels. In Hetty Dorval, Wilson's treatment of love "deals with the question of responsibility" in its presentation of the variety of attitudes concerning Hetty's "reputation." While Mr. and Mrs. Cuppy of Love and Salt Water appear to have attained an almost perfect love, Topaz, in The Innocent Traveller, undergoes a period of intense suffering as the result of "unrequited passion." Finally, Swamp Angel suggests that isolation may be preferable to "certain types of marriage," and through the character of Vera, the book introduces the Idea of jealousy, an aspect of love that does not emerge elsewhere in Wilson's fiction.
C67 Woodcock, George. "The Dotted Points of Light." Saturday Night, May 1974, pp. 21-24. Rpt. in his The World of Canadian Writing: Critiques & Recollections. Vancouver: Douglas & Mclntyre, 1980, pp. 3, 6. Woodcock reflects on his past twenty-five years in Canada. Among these memories, he refers to the wooden houses described in Wilson's novels and mentions encountering Wilson in Vancouver during the fifties when the Canadian literary world was composed of few writers.
C68 Dahlie, Hallvard. "Self-Conscious Canadians." Canadian Literature, No. 60 (Autumn 1974), pp. 7, 10-11, 13. Dahlie includes Wilson in a list of authors whom he thinks feel compelled to write alternating choruses of "O Canada" to prove that Canada is worth writing about. To illustrate his point, Dahlie examines effective passages in Wilson's work where Canada is inseparable from the character and feelings of Maggie, and the less satisfactory passages where Wilson metaphorically sings "O Canada" in Swamp Angel. He includes Wilson in another list of authors whose writing reinforces "the uncritical and incomplete view held of Canada by many outsiders."
C69 McKenna, Isobel. "Women in Canadian Literature." Canadian Literature, No. 62 (Autumn 1974), p. 78. In an analysis of the position of women as reflected in Canadian fiction, McKenna describes Wilson's women as "individuals with some freedom of choice, often preoccupied with the search for a meaning to their lives."
C70 Woodcock, George. "Ethel Wilson." Canadian Fiction Magazine, No. 15 (Autumn 1974), pp. 44-49. Rpt. ("On Ethel Wilson") in The World of Canadian Writing: Critiques & Recollections. By George Woodcock. Vancouver: Douglas & McIntyre, 1980, pp. 120-26. In this tribute to Wilson, Woodcock describes his memories of several meetings with her during the past thirty years. She retained "an Edwardian sensibility, but she had developed a contemporary ironic intelligence," and her sense of the history and geography of British Columbia gave her books a distinctively Canadian quality. He also states that an "extraordinary wide range of irony," an emphasis on love, and a concern with the dual nature of the individual characterize all her fiction.
C71 Geddes, Gary. "Notes on the Contributors." In Skookum Wawa: Writings of the Canadian Northwest. Ed. Gary Geddes. Toronto: Oxford Univ. Press, 1975, p. 333. The Innocent Traveller is a novel about the psychology of transition that is so much a part of life in the recently settled West. Wilson's profoundly ironic vision, in which fate deals its stacked deck, and the seemingly simple and transparent quality of her narratives, which have a dislocative quality and an almost oriental subtlety, lift her stories out of the ordinary.
C72 New, William H. Among Worlds: An Introduction to Modern Commonwealth and South African Fiction. Erin, Ont.: Porcepic, 1975, pp. 118, 250. In a world of restrictions and double standards noted by Canadian women writers, in which a central problem is how to express their sense of organic vitality and admit their knowledge of confinement, Wilson's works articulate most clearly the nature of the dilemma facing independent women.
C73 "Callboard: Off Stage Love." The Vancouver Sun, 25 Jan. 1975, p. 40. At the Galerie Allen, the Playhouse Off Stage will present selections from The Equations of Love at 3 p.m., Sunday.
C74 MacDonald, R. D. "Serious Whimsy." Canadian Literature, No. 63 (Winter 1975), pp. 40-51. Wilson seems to cater uncritically to the escapist fantasies of a female readership, but MacDonald concludes that she is a serious novelist and that Hetty Dorval is a genuine work of art because it provokes the reader to question and explore realities without expecting simple answers. With a whimsical attitude, Wilson explores and questions the bases of our human solidarity and of our human insularity. MacDonald touches on many points about the relanonship between Wilson and Frankie, the use of a less candid narrator, and Hetty as unknowable.
C75 "What People Are Doing." Vancouver Province, 5 April 1975, p. 52. This article mentions an Ethel Wilson Scholarship Fund that will benefit an "aspiring Thespian" and honour a well-known Vancouver author who has contributed greatly to the artistic life of British Columbia.
C76 Gottlieb, Lois, and Wendy Keitner. "Mothers and Daughters in Four Recent Canadian Novels." The Sphinx [Regina], No. 4 (Summer 1975), pp. 21, 22-24, 27, 32-33. Gottlieb and Keitner explore the relationships between mothers and daughters in order to investigate the impact of this launching relationship on the personalities and destinies of the daughters. Hetty Dorval contrasts two biological mother-daughter relationships: one socially approved, one socially condemned. Frankie also has two opposing adult female models: a woman whose character is wholly encompassed by her maternal role and a woman in whom all maternal elements are absent. It is Mrs. Broom's failure to be a mother that has made Hetty incapable of loving in an unselfish, nurturing way, and Hetty's values are associated with those that tear apart not only families, but also civilizations. In contrast, Frankie's relationship with her mother is a positive unity. Although Frankie tries on the image of an adventuress, she increasingly endorses her mother's values as the novel unfolds.
C77 Livesay, Dorothy. "Two Women Novelists of Canada's West." Review of National Literature: Canada, 7 (1976), 127-32. Livesay briefly explores the effect region has on Canadian literature and the development of Western writing, with particular attention to Ethel Wilson and Sheila Watson. After a short biographical summary, Livesay analyzes Wilson's novels and compares them with Sheila Watson's work, concluding that "the work of each is so individual and possesses such marked originality of style that they might have come from two different worlds." Later women novelists, including Margaret Laurence, are less daring stylistically and more concerned with region and class differences than are Watson and Wilson.
C78 "Wilson, Ethel 1888- ." In Canadian Fiction: An Annotated Bibliography. Ed. Margery Fee and Ruth Cawker. Toronto: Peter Martin, 1976, pp. 115-16. In addition to annotating Wilson's books that are in print and Pacey's Ethel Wilson, Fee and Cawker include many of Wilson's books under subject headings designed to help teachers choose thematic course material: World War II, British Columbia, Marriage, Poverty, and Women.
C79 Davies, Barrie. "Lamia: The Allegorical Nature of Hetty Dorval." Studies in Canadian Literature, l (Winter 1976), 137-40. Davies discusses Hetty Dorval as an allegory in which Hetty is an archetypal creature who bears similarities to the Siren, Circe, the Lamia, and La Belle Dame sans Merci, while Frankie whose moral progress is one of the major concerns of the book is Everyman; the action follows a ritualistic movement; and the dominant narrative device is a journey, quest, and battle. (In "Ethel Wilson's First Novel" [C32], Pacey similary notices the possibility of interpreting the novel as an allegory where Innocence meets Evil in the disguise of Beauty, but he points out that "the summary grossly oversimplifies the moral and psychological subtlety of the book." For a defense of allegory in this novel, see R. D. MacDonald's "Serious Whimsy [C74].)
C80 Mitchell, Beverley J. "In Defense of Hetty Dorval." Studies in Canadian Literature, I (Winter 1976), 26-48. Mitchell refutes many of the criticisms of Hetty Dorval such as Wilson's "authorial intrusion, ambiguity, and a lack of control over her subject matter." She argues that the novel is rightly written and controlled, and that the ambiguities it contains are "deliberate." Through an examination of the disparities between the "social" and "private beings" of Hetty and Frankie, Mitchell sees similarities in these two characters as well as in Hetty and Maggie of Swamp Angel. She analyzes many of the nuances in the speech, thoughts, and actions of the characters in Wilson's fiction. (See Desmond Pacey's "Ethel Wilson's First Novel" [C32] for an opposing view.)
C81 McClung, M. G. "Developments in Fiction." In her Women in Canadian Literature. Preface George Woodcock. Toronto: Fitzhenry & Whiteside, 1977, pp. 55-56, 62, 63. McClung says Wilson writes "a good old-fashioned novel with a happy ending" and tends "to reward good (and love) and punish evil." She briefly summarizes each novel and includes at the end of this chapter a selected bibliography for further reading, a discussion question for Hetty Dorval, and a research question for Swamp Angel.
C82. Moss, John. Sex and Violence in the Canadian Novel: The Ancestral Present. Toronto: McClelland and Stewart, 1977, pp. 2-3, 309, 312. Moss calls Hetty Dorval one of four individual works of genius that were "major promontories shaping the mainstream" of modern Canadian novels and discusses Swamp Angel as one of several novels in a "rapid succession of accomplished fiction." Although Wilson was born outside Canada, she participates in the Canadian tradition. "Mrs. Golightly and the First Convention" is included in a list of "superb short fiction."
C83 Woodcock, George. Preface. In Women in Canadian Literature. By M. G. McClung. Toronto: Fitzhenry & Whiteside, 1977, p. 5. Here is a name that must be spoken alone, in esteem and gratitude--Ethel Wilson. "For if any single writer liberated Canadian fiction from the national self-consciousness that gathered over it in Hugh MacLennan's 1940s and 1950s, it was this marvellously urbane woman, who ... by her lyrical ironies brought Canadian fiction back to recognition that the proper study of humankind is man and woman in the infinite variety of their relationshlps and solitudes."
C84 Woodcock, George. "Possessing the Land: Notes on Canadian Fiction." In The Canadian Imagination: Dimensions of a Literary Culture. Ed. and introd. David Staines. Cambridge: Harvard Univ. Press, 1977, pp. 88, 91-92. Rpt. in The World of Canadian Writing: Critiques & Recollections. By George Woodcock. Vancouver: Douglas & McIntyre, 1980, pp. 33, 35-36. Woodcock regards Wilson as a "consummate stylist and literary psychologist" and sees in her work a combination of assurance and adventurousness and a "strange equilibrium between illusion and reality." Wilson's "catalytic imagination" has influenced many younger writers such as Margaret Laurence and Margaret Atwood.
C85 McMullen, Lorraine. "Images of Women in Canadian literature: Woman as Hero." Atlantis [Acadia Univ.], 2 (Spring 1977), 136-37, 141. McMullen finds that in a number of Canadian novels a significant feminine archetype is emerging: the woman hero undergoes the same pattern of adventures which the archetypal male hero traditionally has undergone. Maggie Lloyd is an example of the female hero who undertakes a journey, which is both external and internal, who meets a grade of the same sex, and who after descending into the underworld returns wiser or freer.
C86 Davey, Frank. "The Explorer in Western Canadian Literature." Studies in Canadian Literature, 4 (Summer 1977), 95, 96, 97, 100. From Earle Birney and Ethel Wilson to the present, the explorer as chartmaker and wanderer has engaged the Western Canadian literary imagination to the point of becoming a metaphor for life, and, by implication, for the writing process itself. Topaz Edgeworth, a receptive adventurer, is the forerunner of Robert Kroetsch's two Annas in Badlands and as part of another contrast between preconception and reality. The explorer as artist is seen in Topaz who as a young child is already the family poet reciting verses to Matthew Arnold. For Wilson, the explorer embodies the problem of how to live in The Innocent Traveller--innocently or cautiously.
C87 Gottlieb, Lois C., and Wendy Keitner. "Demeter's Daughters: The Mother-Daughter Motif in Fiction by Canadian Women." Atlantis [Acadia Univ.], 3 (Autumn 1977), 133-34. Their earlier article about women characters whose destinies were sharply influenced by women, "Mothers and Daughters in Four Recent Canadian Novels" (C76), spurred Gottlieb's and Keitner's interest in exploring the mother-daughter relationships in Canadian literature. They look at how daughters have been denied the courageous, strong, and miraculous mothering of Demeter because of patriarchal values, the "loss" of the mother to the daughter, and how Canadian women writers have consciously and unconsciously used a recurring mother-daughter motif. Wilson's Hetty Dorval "affords an early glimpse of the potential of the mother-daughter relationship to range from the 'deepest mutuality' to the 'most painful estrangement,' and dramatizes the effect of either extreme by contrasting two daughter figures who are the novel's central characters."
C88 Stouck, David. "Ethel Wilson's Novels." Canadian Literature, No. 74 (Autumn 1977), pp. 74-88. In this overview, Stouck examines the range of Wilson's writing, which he feels includes "family epic, pastoral, satire, romance." Her deceptively simple prose style "hides both artful invention and philiosophical complexities." The stylistic "quirks" of her writing, "curious repetition, illogical statements, ellipses, lacunae," for example, catch the reader's attention and reinforce Wilson's treatment of the "discontinuity in the flow of human relationships." She deals with the difficult problem of human relations, and Stouck notes that her work often presents a tension between a character's desire for isolatlon and withdrawal from familiar surroundings and Wilson's "vision of unity and her theme of responsibility."
C89 Endres, Robin. "Marxist Literary Criticism and English-Canadian Literature." In In Our Own House: Social Perspectives on Canadian Literature. Ed. Paul Cappon. Toronto: McClelland and Stewart, 1978, p. 123. Wilson is one of dozens of novelists through which the effects of regional underdevelopment and cultural differences can be traced.
C90 Marshak, Patricia. "Given a Certain Latitude: A (Hinterland) Sociologist's View of Anglo-Canadian Literature." In In Our Own House: Social Perspectives on Canadian Literature. Ed. Paul Cappon. Toronto: McClelland and Stewart, 1978, pp. 193, 194. Hetty Dorval and Swamp Angel are examples of novels by women about women in which one learns a good deal about specific regions, male-female relationships, families, occupational cultures, and social changes; and Wilson's Maggie is an example of protagonists who find peace and salvation by turning their backs on urban society.
C91 McAlpine, Mary. "On Ethel Wilson." In Transitions II: Short Fiction. A Source Book of Canadian Literature. Ed. Edward Peck. Vancouver: CommCept, 1978, pp. 243-46. Requested to write this abstract to accompany "The Window" because she and Wilson had been friends for more than twenty-five years, McAlpine talks about Wilson's crippling arthritis, playing brute force against the mind in her writing, her father's death, her dislike of teaching, the breadth of her reading, and her husband's death.
C92 Woodcock, George. "We've Come a Long Way, Baby." Books in Canada, Jan. 1978, pp. 4-5, 6. Rpt. ("On Editing Canadian Literature: Recollections in 1977") in The World of Canadian Writing: Critiques & Recollections. By George Woodcock, Vancouver: Douglas & McIntyre, 1980, pp. 13, 16. Woodcock mentions that he eagerly read every Wilson novel as it came off the press, finding her the most urbanely ambivalent of all the Canadian novelists of that time. He was happy when the Wilsons became his friends, and he encouraged Wilson to recount her memories for Canadian Literature.
C93 Sutherland, Ronald. Discussion. The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 16 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, p. 67. Wilson is cited among other novelists to prove that "the real pattern of cultural colonization in Canada now might well be West to East, rather than the other way around."
C94 Keith, W. J. "The Thematic Approach to Canadian Fiction." The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 17 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont. ECW, 1982, pp. 81-86. Keith outlines the opposing characteristics of Maggie and Nell and notes their similarities. "So far, my commentary may have suggested a plot as conspicuously polarized as that of Settlers of the Marsh, but Swamp Angel does not give this impression .... Ethel Wllson's art depends to a considerable extent upon her capacity to lead us surely but indirectly towards her unifying 'vision.'" The "profundity of her treatment of marriage and the family depends almost wholly on the examples fully integrated into the novelistic texture and the 'serious irony' of Nell's statement in the context of her own situation." Swamp Angel "is also about Time and the relationship between past and present." Nell's "bon mots" are "wise, compassionate, but with a palpable hint of the sardonic .... But more subtle and less conspicuous is the effect of Ethel Wilson's own commentary." Keith chooses a passage that shows "no 'style," . . no 'fine writing'... [but] an exquisite sense of clarity, of finding the right sequence of words to convey a meaning .... Poise, simplicity, profundity, exquisite control of tone, delicate human insight, and above all that compassion that becomes the redeeming feature of so many of her human and therefore imperfect characters: all these . . . are communicated through the verbal texture of her novels." Her "recurring images" add "often complex meanings," but, as Nell warns us, symbolism is limiting, and the Swamp Angel "is more than a symbol in being itself."
C95 Ross, Malcolm. "The Ballot." The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary, Alta. 18 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, pp. 141, 151, 153. Swamp Angel is mentioned as one of the novels immediately following the top ten. Wilson's Swamp Angel and The Innocent Traveller are listed among the top one hundred.
C96 Hedenstrom, Joanne. "Puzzled Patriarchs and Free Women: Patterns in the Canadian Novel." Atlantis [Acadia Univ.], 4 (Fall 1978), 5, 6, 7. Hedenstrom sees a distraction between Canadian women novelists and Canadian male novelists: a basic divergence of theme and philosophy which suggests two novel traditions. Escape and metamorphosis that involve discarding limitations, breaking through life-denying circumstances, casting off relationships and moving towards a culmination that is hopeful and positive is a dominant motif in novels by English-speaking Canadian women. Thus, Maggie escapes, sheds prosperous middle-class clothes, and experiences a rebirth of the soul; Lilly's final transformation is the rebirth of a free woman; and Nell, like Maggie, has discarded possessions and the acceptance of average society, but has gained something more vital.
C97 Mitchell, Beverley. "Ulysses in Vancouver: A Critical Approach to Ethel Wilson's 'Tuesday and Wednesday.' " Atlanta [Acadia Univ.], 4 (Fall 1978), 110-22. Believing that critical approaches to "Tuesday and Wednesday" have been inadequate to date, Mitchell suggests an approach based on the idea that literature is cyclic to "account for those things in this story which have perplexed and embarrassed its critics." Mitchell compares this novella to Homer's Odyssey and James Joyce's Ulysses and the characters to various mythological counterparts including Zeus, Hera, and Aphrodite. Mitchell calls this novella a "delicious literary joke" in which Wilson "reduced characters and events of heroic and literary consequence to the lowest level of urbanity in the Tuesday section of this novella--then reversed this procedure in the Wednesday" section.
C98 Mitchell, Beverley. "'On the Other Side of the Mountains': The Westering Experience in the Fiction of Ethel Wilson." Women, Women Writers, and the West. Ed. L. L. Lee and Merrill Lewis. New York: Whitston, 1979, pp. 219-29. Differentiating between "the West" understood to be occupied by the Prairies and what lies on the other side of the mountains, Mitchell describes both a literal and a metaphorical "westering experience" unique to British Columbia that appears in Wilson's fiction. The literal westerling or "movement in a western direction" depicted in The Innocent Traveller shows why British Columbia has none of the characteristics associated with the raw frontier of the American West or the struggle associated with the settlement of the Canadian Prairie West: groups of reasonably affluent, middle-class English with all the securities, convictions, and blindnesses of Victorian England migrated en masse to British Columbia stabilizing and ordering an "instant society." Metaphorical westering is an intensely private and personal quest, which establishes the individual as an individual, or a quest for what Wilson has described as "something which transcends and heightens ordinary life and its complement" inherent in the unspoiled landscape of this province, which is remarkable for its tolerance of man. In Wilson's fiction, metaphorical westering invariably results in an affirmation, a strengthening and an illumination of human values, and a divination of human relations. The most important aspect of this natural world is its reflected view of something "unexpressed and inexpressible" that transcends the human, "that leads to an experiental knowledge of the beauty and mystery of the Supreme Being."
C99 O'Neill-Fisher, Malcolm. "West Coast Novels Course: B.C. Literature Is Worthy." The Journal of the B. C. English Teachers'Assoctatton, 21, No. I (Winter 1979), 11-12, 13. Swamp Angel is included on a list of books appropriate for a grade twelve West Coast novel course because it is set in British Columbia and its language is acceptable and inoffensive to a cross section of readers. O'Neill-Fisher discusses the theme as a search for self which requires enduring and managing a confrontation with past, present, and future. Equations of Love and Hetty Dorval are worth considering.
C100 McMullen, Lorraine. "The Divided Self." Atlantis [Acadia Univ.], 5 (Spring 1980), 54-55. By presenting in a favourable light one conventional and one unconventional woman, women writers give voice to "their divided selves, caught between acceptance of the conventions of the patriarchal society in which they have been brought up and rebellion against it." Wilson's Maggie Lloyd contrasts with her friend, the ultraconventional Hilda Severance. Early women writers--even Wilson--do not directly challenge accepted modes of behaviour, for their two very different women are both viewed favourably.
C101 O'Neill-Fisher, Malcolm. "B.C. Literature Is Worthy: Part II." The Journal of the B.C. English Teachers' Assoctation, 22, No. 1 (Summer 1980), 6. O'Neill-Fisher includes and analyses Wilson's "The Window" in the second part of his compilation of writing by British Columbian authors.
C102 Sonthoff, Helen. "The Stories of Wilson & Engel." Canadian Literature, No. 86 (Autunm 1980), pp. 148-52. Finding a "similar pleasure" in the stories of Ethel Wilson and Marian Engel, Sonthoff says that what Willa Cather does with event, Wilson with tone, and Engel with sentence structure and sequence startles her. In both Wilson's and Engel's work, the sentences and the rhythms they set up in a paragraph make the "surface delight": Engel's are simply declarative or overwhelmingly compounded while Wilson's are parenthetical. Although there are many differences between the two writers, they "both show life's characteristic movement as circular, interrupted, shifting, drifting."
C103 Whitaker, Muriel. "Ethel Wilson at Lac Le Jeune." Canadian Literature, No. 86 (Autumn 1980), pp. 143-48. Whltaker identifies the source of three lakes Wilson uses in her writing as Lac Le Jeune where Wilson spent many fishing holidays with her husband. Whitaker, who was a friend of the Wilsons and whose family owned the fishing lodge where the Wilsons stayed, provides a history of the resort, describes the cabin where the Wilsons stayed, includes some anecdotes about them, and describes the magic of fly-fishing. She also analyzes the two short stories and novel in which the Lac Le Jeune experience was particularly relevant and points out that Wilson achieved her fidelity to detail by making notes about everything she saw and heard, human and non-human, and by asking countless questions. In the rather poignant conclusion, Whitaker includes fragments of conversations and experiences that occured when she had tea with Wilson in the late sixties at Wilson's Point Grey apartment. (See C120.)
C104 de Santana, Hubert. "Wonder Women." Today Magazine, 13 Dec. 1980, pp. 14, 16. A look at the creative women who live on Galiano Island that includes Audrey Thomas, Dorothy Livesay, and Jane Rule. Wilson is briefly mentioned as having written Love and Salt Water there in 1956 and as being the only writer before Audrey Thomas to live and write on the island (Wilson had a cabin on Bowen Island, not Galiiano Island.)
C105 "Books Highly Acclaimed: Writer Wilson Dies at 92." The Vancouver Sun, 22 Dec. 1980, p. A18. A short, biographical article that overviews Wilson's accomplishments and life. "Among the few instructions which she left was the request that her death notice read that she died and not 'passed away.'
C10 "Canadian Writer Dead at 92." The Globe and Mail, 23 Dec. 1980, p. 15. An obituary notice which contains brief biographical information.
C107 Comeau, Paul. "Ethel Wilson's Characters." Studies in Canadian Literature, 6 (1981), 24-38. Comeau traces "the emergence of a moral dimension in Ethel Wilson's fictional world, as it is reflected in the development of her characters" from the immoral Hetty to the compassionate Ellen, believing that the motivation behind Wilson's writing derives from the need to discover a moral or etical foundation amid the chaos about her. In Hetty Dorval, Hetty is wilfully immoral; in "Tuesday and Wednesday," all the characters are amoral; and in "Lily's Story," amoral Lilly's development is characterized, not by moral or spiritual insights, but by the simple ability to differentiate between the relative importance of things versus people. Swamp Angel represents a significant philosophical shift in Wilson's imaginative visin since she moves into the realm of Christian mythology making the characters more positive figures and suggesting the possibility of a moral foundation. Love and Salt Water focuses less on the particulars of an individual's quest for independence and love than on the implications of that quest in that context of the broader philosophical questions of life, death, and immortality; it is Wilson's most forgiving novel, and Ellen is notable for her compassion.
C108 Moss, John. A Reader's Guide to the Canadian Novel. Toronto: McClelland and Stewart, 1981, pp. 283-88, 352, 353,359, 360, 363, 366, 372, 375, 376, 377, 378, 379. Moss notes Wilson's talent for making simple things seem profound and profound things seem straight-forward. In Hetty Dorval, she deals with innocence and experience, "apparent naivete and unassuming sophistication." Descriptions of the interior of British Columbia "have a simple, graphic directness that suggests a real place, but at the same time a place somehow lost in the narrator's childhood past." Technically, the most sophisticated of Wilson's works, The Innocent Traveller, uses a number of different points of view and employs an "evasive" structure. Swamp Angel is a novel about "discovery rather than flight" and is a complex story told in an uncomplicated manner. Wllson's works are also included under various categories in the Appendix.
C109 "Wilson, Ethel Davis (Bryant) 1888-1980." In Contemporary Authors: A Bio-Bibliographic Guide to Current Writers in Fiction, General Nonfiction, Poetry, Journalism, Drama, Motion Pictures, Television, and Other Fields. Rev. ed. Vol. cn. Ed. Frances C. Locher. Detroit: Gale, 1981, 534-35. Bio-bibliographic information. The editor also notes that Wilson attempted to imbue her work with incandescence" and observes that she has been compared with Jane Austen, Daniel Defoe, Marcel Proust, and Virginia Woolf. Critical work has focused on Wilson's style and symbolism and has stressed her "finely crafted simplicity."
C110 Laurence, Margaret. "A Friend's Tribute to Ethel Wilson." Toronto Star, 23 Jan. 1981, p. F7. In this biographical article, Laurence pays tribute to Wilson, a splendid writer and great lady, who encouraged Laurence when she was a young and unknown winter and helped her to beheve m herself. Wilson is a deeply rehgums writer whose economy of w mtmg is matched by ItS subtlety; she portrays characters with perceptu)n, compassion, humour, and a sense of the mystery at the core of life.
C111 Leitch, Linda M. "Ethel Wilson, 1890-1980." Books in Canada, Feb. 1981, p. 17. This short biographical article describes Wilson's life, writing accomplishments, and awards. Although Wilson has been described as a matriarch and sybil of Canadian fiction, she died at a Vancouver nursing home in relative obscurity; perhaps her greatest honour lies in the influence she has had on such writers as Margaret Laurence, Alice Munro, and Mordecai Richler. The symposium on her work at the University of Ottawa planned in the spring of 1981 indicates that "she is not, after all, forgotten."
C112 Kirkwood, Hilda. "Tribute to Ethel Wilson." The Canadian Forum, June-July 1981, pp. 4-5. This disjointed tribute describes Ethel Wilson as the first Canadian woman fiction writer to "establish a beachhead abroad, at least in England." Kirkwood notes that Hetty Dorval contains flaws common to first novels, that Wilson brought the West Coast to our notice, and praises the "incandescence" she achieved on her limited canvas. "On Nimpish Lake," Wllson's first story published in Canada, appeared in The Canadian Forum.
C113 McMullen, Lorraine. "Ethel Wilson 1888-1980" Canadian Literature, No. 89 (Summer 1981), pp. 182-84. McMullen describes Ethel Wilson as a humanist whose humanism is existential and transcendental. Donne's phrase, "No man is an island," is central to Wilson's view of the universe and man's place in it, but while acknowledging our responsibility Wilson reminds us that each of us is essentially alone. Most of Wilson's gallery of women characters demonstrate that living is done alone: they work out their need to balance independence with commitment by a form of mothering. Swamp Angel in particular can be seen as an early feminist novel. McMullen also looks at Wilson's stylistic skill, narrative voice, and humour.
C114 Hamilton, Susan L. "Beyond the Grave, Fame and Fortune." The Vancouver Sun, 10 July 1981, p. A5. In this satirical article, Hamilton complains that we have too many good writers who live far too long, and who are consequently not fully appreciated. "As it is, when Ethel Wilson died, she got less than a page in 'Books in Canada' magazine, so there isn't much to inspire someone like Gabrielle Roy to follow suit."
C115 McLay, Catherine. "Ethel Wilson's Lost Lady: Hetty Dorval and Willa Cather." Journal of Canadian Fiction, No. 33 (1981-82), pp. 94-106. McLay finds many similarities between Wilson's Hetty Dorval and Willa Cather's My Antonia and A Lost Lady: they all focus on a central female figure whose significance lies in the relationship with, and its influence on, the narrator; all three employ a narrator who is younger, infatuated with the older woman, and thus involved in the portrait and affecting the whole tone of the work; the role of two central figures, Marian of A Lost Lady and Hetty, are both essentially passive, yet the basis of their attraction is sensual and both influence or educate the narrators; and each of the novels can be considered to be a "novel demeuble," in which the writers reduce their fictions to the simplest and most concise expressions. The endings of A Lost Lady and Hetty Dorval, the two books in which McLay finds the most parallels, are different; the former is nostalgic, the latter is tragic. This difference reflects the basic difference between the intent of the works and the philosophies of the writers.
C116 McMullen, Lorraine. Introduction. In The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Ottawa Univ. Press, 1982, pp. 1-5. McMullen includes a synopsis of each article, references to recurring and controversial topics, and an evaluation of the spirit of the symposium. There are four biographical papers: Mary McAlpine's "Ethel Wilson as I Knew Her" (C119), Muriel Whitaker's "Journeys to the Interior: The Wilsons at Lac Le Jeune" (C120), Christopher Armitage's "Ethel Wilson's English Schooling and Its Echoes in Her Fiction" (C118), and Barbara Wild's "Piety, Propriety, and the Shaping of the Writer" (C126). David Stouck has two pieces related to the Wilson Papers: one is an essay, "The Ethel Wilson Papers" (C125), that discusses the Wilson Papers and the other is "An Annotated Index to the Ethel Wilson Papers at the University of British Columbia" (C130). Critical papers include Alexandra Collins' "Who Shall Inherit the Earth? Ethel Wllson's Kinship with Wharton, Glasgow, Cather, and Ostenso" (C121), Beverley Mitchell's "The Right Word in the Right Place: Literary Techniques in the Fiction of Ethel Wilson" (C122), Donna Smyth's "Strong Women in the Web: Women's Work and Community in Ethel Wllson's Fiction" (123), Helen Sonthoff's "Companion in a Difficult Country" (C124), W. J. Keith's "Overview: Ethel Wilson, Providence, and the Vocabulary of Vision" (C128), and Blanche Gelfant's "The Hidden Mines in Ethel Wilson's Landscape (or An American Cat Among Canadian Falcons)" (C127). W. H. New's "Critical Notes on Ethel Wilson: For a Concluding Panel" (C129) assesses "the current state of things," and charts new beginnings.
C117 Howard, Irene. "Shockable and Unshockable Methodists in The Innocent Traveller." Essays on Canadian Writing, No. 23 (Spring 1982), pp. 107-34. 1982, pp. 107-34. Drawing on extensive reading of the Wilson papers, material in the Vancouver City Archives, newspapers, articles by and about Wilson, and on personal interviews, Howard has compiled a biographical study of the shockable, maternal side of Wilson's family and The Innocent Traveller. Howard identifies the family members and others characterized in the book (Rose is a fictionalized Ethel Wilson) and pinpoints historical events such as "The Great English Bay Scandal" that Wilson has adapted or used in her story.
C118 Armitage, Christopher M. "Ethel Wilson's English Schooling and Its Echoes in Her Fiction." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 24 April 1982. Printed in The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ. of Ottawa Press, 1982, pp. 19-2 Armitage describes Trinity Hall School in Southport, England, a private school for the daughters of Methodist ministers, which Wilson attended from 1902 to 1906; its history; the girls' daily schedule; the headmistress, Miss C. H. Peet, and her influence upon young Ethel Bryant; and Wilson's continued interest in the school. He also examines the echoes of life at Trinity Hall in Wilson's fiction. Looking at the literary echoes from an education that stressed the study of literature, he discusses Wllson's numerous citations of Donne's work in her novels.
C119 McAlpine, Mary. "Ethel Wilson as I Knew Her." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 24 April 1982. Printed in The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ. of Ottawa Press, 1982, pp. 7-11. In this biographical article, McAlpine, a close family friend and Wilson's biographer, discusses Wilson's birthdate, parents, childhood, teaching career, personality, relationship with her husband and how his death affected her, last years, and funeral.
C120 Whitaker, Muriel. "Journeys to the Interior: The Wilsons at Lac Le Jeune." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 24 April 1982. Printed in The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ of Ottawa Press, 1982, pp. 13-18. Whitaker tells the history of the fishing lodge where the Wilsons spent their holidays for over forty years and describes its setting, the Wilsons' cabin, the clientele, and the Wilsons as guests. She also points out people and events that were prototypes to characters and events that occur in Wilson's fiction, emphasizes the influence Lac Le Jeune had on Wilson's writing, and discusses how a character's response to nature in Wilson's novels provides a basis for moral judgement. Only a portion of the intormation in Whitaker's earlier article, "Ethel Wilson at Lac Le Jeune" (C103) overlaps with this one.
C121 Collins, Alexandra. "Who Shall Inherit the Earth? Ethel Wilson's Debt to Wharton, Glasgow, Cather, and Ostenso." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 25 April 1982. Printed ("Who Shall Inherit the Earth? Ethel Wilson's Kinship with Wharton, Glasgow, Cather, and Ostenso") in The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ. of Ottawa Press, 1982, pp. 61-72. Collins considers Wilson's writings a later development of a strand of North American fiction which includes Edith Wharton, Ellen Glasgow, Willa Cather, and Martha Ostenso. Wilson shares with these writers a concern for maintaining the human past in the face of the frontier or the vulgarity of an urban culture, an ambivalent view of the past relived through memory, and a belief in the female creative imagination and in the establishment of a matriarchy. Collins' discussion includes Wharton's The House of Mirth and The Age of Innocence, Glasgow's Barren Ground, Cather's Song of the Lark and O Pioneers!, Ostenso's Wild Geese, and Wilson's Hetty Dorval, Swamp Angel, and Love and Salt Water.
C122 Mitchell, Beverley. "The Right Word in the Right Place: Literary Techniques in the Fiction of Ethel Wilson." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 25 April 1982. Printed in The Ethel Wilson Symposium Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ. of Ottawa Press, 1982, pp. 73-85. Using the first chapter of Hetty Dorval as a basis for her discussion, Mitchell examines some of the literary techniques Wilson has used to overcome the limitations of her unreliable narrator and provides evidence to show that Hetty Dorval was not a "bad woman." Mitchell discusses the conflict between appearance and reality, the tension between the innocent freedom of a child and the suspicious restraint of a parent, the use of dogs to reveal character, the destructiveness of gossip, and the pattern of imagery associated with Hetty and Frankie.
C123 Smyth, Donna E. "Strong Women in the Web: Women's Work and Community in Ethel Wilson's Fiction." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 25 April 1982. Printed In The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ. of Ottawa Press, 1982, pp. 87-95. Smyth explores the role of women in Wilson's fiction with a feminist's eye. Keepmg in mind the social and historical framework within which Wilson develops her fiction, Smyth looks at the women characters' social class and economic condition, as well as the strength of community among women central to Wilson's fiction.
C124 Sonthoff, Helen. "Companion in a Difficult Country." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 25 April 1982. Printed in The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ. of Ottawa Press, 1982, pp. 97-104. Using Wilson's epigraph to Mrs. Golightly and Other Stories, "Life is a difficult country, and our home," Sonthoff explains why she finds Wilson's work so "companionable." She reflects on the British Columbia scenery she has seen that is similar to that described by Wilson. Sonthoff examines Hetty Dorval as a "matter of light." She discusses the "voices" Wilson reproduces in her fiction, Wilson's gentle mockery of those who have a need to feel important or have a longing for accomplishment, and how the pattern of life can be radically altered by circumstances in Wilson's fiction.
C125 Stouck, David. "The Ethel Wilson Papers." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 25 April 1982, Printed in The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ. of Ottawa Press, 1982, pp. 47-59. Stouck surveys the Wilson Papers located in Special Collections at the University of British Columbia. In Wilson's manuscripts, he finds evidence that she began The Innocent Traveller nineteen years before it was published, four pieces of fiction that Wilson omitted from the Topaz story, a prefatory essay to The Equations of Love entitled "The Theory of Angels," two alternate endings Wilson did not use for Swamp Angel, and a copy of Love and Salt Water written from the first-person point of view. Throughout, the manuscripts contain evidence that she cut back deliberately and worked hard to achieve simplicity. Stouck also discusses Wilson's unpublished novel, "The Vat and the Brew," and unpublished stories. In Wilson's unpublished articles, reviews, and scripts for speeches, she talks about her own writing, the writers she admires most, and her self-education. From her correspondence and manuscripts, Stouck says, there is evidence that Wilson was not exactly the natural writer she portrayed herself to be but, to the contrary, had served a particularly long apprenticeship.
C126 Wild, Barbara. "Ethel Wllson's English Background and Its Legacy in Her Writing." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 25 April 1982. Printed ("Piety, Propriety, and the Shaping of the Writer") in The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ. of Ottawa Press, 1982, pp. 27-46. During a visit to England, Wild researched Wilson's maternal and paternal family trees going back four generations by looking at census records, monument inscriptions, and obituaries. She analyzes this researched material, refers to articles by and about Wilson, makes some suppositions about Wilson's background, sheltered upbringing, and resulting beliefs. Wild traces Wilson's theme of responsibility with its struggle between duty and desire through Hetty Dorval and Swamp Angel.
C127 Gelfant, Blanche. "The Hidden Mines in Ethel Wilson's Landscape (or An American Cat Among Canadian Falcons)." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 26 April 1982. Printed ["The Hidden Mines in Ethel Wllson's Landscape (or, An American Cat Among Canadian Falcons)"] in Canadian Literature, No 93 (Summer 1982), pp. 4-23. Rpt. ["The Hidden Mines in Ethel Wilson's Landscape (or An American Cat Among Canadian Falcons)"] in The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No 8. Ottawa: Univ of Ottawa Press, 1982, pp. 119-39. Gelfant "excavates" the hidden depths beneath the surface of Wilson's fiction and finds violence lurking beneath its serenity, but a muted violence that occurs almost parenthetically: violence that is contained in the beautiful Canadian landscape; violence held in arrest allowing for providential rescue; and violence in the invidious form of the Void or desert, a world deprived of meaning. Wilson tries to mollify the fear of chaos by showing how families maintain order, but she cele- brates and undermines the roles of her women and marriage, never letting us forget the harm we might do each other within the family. Gelfant compares Wilson to American novelists. For all the similarities between Wilson and Edith Wharton, Wharton shows that life is so constituted that rescue never comes when we need it, while Wllson's vision contains providential rescues from seemingly inescapable dangers in the tradition of the Victorian novel. Gelfant contrasts Willa Cather's universal meanings expressed in the cycles of nature and the passage of time to Wilson's and finds similarities between Wilson's and Hemingway's style, understatement, tension between natural beauty and human vulnerability, and use of fishing scenes. In contrast to American novels with their perennial sense of discovery, dream, and disillusionment, Wllson's characters recapture their own past or exorcise a present they find oppressive. Wilson consciously draws attention to the creative act of story-telling -- her characters are unabashed liars -- and this confusion of lies with truth celebrates the story-teller's power to convince us of the reality of fiction; "it also dramatizes the mysteriousness of life whose essence we cannot know with certainty.'" Because the omniscient narrator implies that even the all-knowing story-teller does not know the truth, Wilson's fiction makes Gelfant "certain and uncertain."
C128 Keith, W.J. "Overview: Ethel Wilson, Providence, and the Vocabulary of Vision." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa, 26 April 1982. Printed in The Ethel Wilson Symposium. Ed Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ. of Ottawa Press, 1982, pp. 105-17. Keith looks at the "vocabulary of vision" that refers not only the plain act of seeing, but to that more exalted sense of irradiated understanding in Hetty Dorval, a novel concerned with Frankie coming to "see" Hetty in her true light; Swamp Angel, in which Wilson is concerned with the "unseen," with "something that cannot be perceived visually but whose larger dimension can be sensed"; and Love and Salt Water, in which the vocabulary of vision is probably most frequent. He also discusses Wilson's viewpoint, "a particular kind of authorial omniscience," in The Innocent Traveller, Swamp Angel, and Love and Salt Water. Finally, Keith analyzes the story "The Window" and several of Wilson's non-fiction articles to support his belief that Wilson's "is invariably a providential vision, and her authorial intrusions ... are justified because they reflect and interpret a world view that presupposes a larger meaning."
C129 New, William H. "Critical Notes on Ethel Wilson: For a Concluding Panel." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 26 April 1982. Printed in The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ. of Ottawa Press, 1982, pp. 141-44. New assesses what took place at the Ethel Wilson Symposium, points to some critical directions that still need to be taken, and summarizes what he feels are Wilson's strengths and weaknesses as a writer.
C130 Stouck, David. "An Annotated Index to the Ethel Wilson Papers at the University of British Columbia." The Ethel Wilson Symposium, Univ. of Ottawa, Ottawa. 26 April 1982. Printed in The Ethel Wilson Symposium. Ed. Lorraine McMullen. Re-Appraisals of Canadian Writers, No. 8. Ottawa: Univ. of Ottawa Press, 1982, pp. 147-52. Stouck provides an annotated Index to the Wilson Papers that includes box and file numbers. (Several boxes of new material have been added to the Wilson collections since the publication of this Index.)
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C144 Schull, Joseph, adapted. "Hetty Dorval." Prod. Andrew Allen. Stage '48. CBC Radio, 15 Feb. 1948. (60 min.)
C145 James R. S., adapted. "Beware the Jabberwock." Cameo Series. CJOR Radio, 6 Aug. 1962. An adaptation of Wilson's short story entitled "Beware the Jabberwock, My Son... Beware the Jubjub Bird" (A6).
C146 "Off Stage Love." Galerie Allen, Vancouver. 25 Jan. 1975. An adaptation of Wilson's The Equations of Love (A3), performed by Playhouse Off Stage.
C147 Brockington, Peter, adapted. "Swamp Angel." Narr. Susan Chappel. Book Time. CBC Radio, 29 Nov.-17 Dec. 1982. (15 segments; 20 min. each segment.)
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C148 Honorary D.Litt., University of British Columbia (1955).
C149 Canada Council Medal (1961).
C150 Lorne Pierce Gold Medal awarded by the Royal Society of Canada (1964).
C151 Order of Canada Medal of Service (1970).
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C131 McComb, Bonnie Martyn. "Ethel Wilson: A Bibliography 1919-1977." Part I. West Coast Review, 14, No. 1 (June 1979), 38-43. Part 1 of a preliminary version of the present bibliography; includes an introduction and the primary sources.
C132 McComb, Bonnie Martyn. "Ethel Wilson: A Bibliography 1919-1977." Part II. West Coast Review, 14, No. 2. (Oct. 1979), 49-57. Part II includes articles, books, theses, and dissertations about Wilson.
C133 McComb, Bonnie Martyn. "Ethel Wilson: A Bibliography 1919-1977." Part III. West Coast Review, 14, No. 3 (Jan. 1980), 58-64. Part III includes a brief introduction and book reviews of Hetty Dorval, The Innocent Traveller, Equations of Love, and Swamp Angel.
C134 McComb, Bonnie Martyn. "Ethel Wilson: A Bibliography 1919-1977." Part IV. West Coast Review, 15, No. 1 (June 1980), 67-72. Part IV contains book reviews of Love and Salt Water and Mrs. Golightly and Other Stories and three appendixes.
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C1 Pacey, Desmond. Ethel Wilson. Twayne's World Authors Series, No. 33. New York: Twayne, 1967. 194 pp. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, pp. 374-75. In this standard Twayne edition, Pacey examines Wilson's short stories, essays, and novels. He provides a chronology of Wilson's life and excerpts from Wilson's letters to Pacey. He comments on the theme of isolation in Wilson's short stories and briefly surveys her essays. Pacey discusses the pattern of The Innocent Traveller, through its structure, style, and tone, as a "series of concentric circles," an "elegiac poem," and a "parable of the human predicament." Place, thematic patterns, colour symbols, and nature images are discussed in "Tuesday and Wednesday." "Lilly's Story" is primarily a novel of the following themes: variability and ambiguity of life, life as a truly fearful process, and the sense of isolation. Examining Swamp Angel as "a prose poem about the cosmic web of life," Pacey compares the characters in this novel with other Wilson characters and discusses movement and stasis, images of light and darkness, and the controlling symbol of the Swamp Angel. In Love and Salt Water, Pacey sees the flaw in the second part as a lack of unity which comes from thematic uncertainty and a "relative paucity of unifying symbols." For his discussion of Hetty Dorval, see C32. Pacey includes a selected bibliography.
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McComb, Bonnie Martyn (compiler)
C142 Hambleton, Ron. "Experience of Life." CBC Radio, 12 Feb. 1955. In this production about aging and growing old, Wilson discusses what they mean to her, illustrates points with quotations from Somerset Maugham, and talks about education and writing. She defines being old: "... when we no longer have the curiosity to proceed into the unknown, we're old, no matter how young we are."
C143 Daniells, Roy. "Profile." Dir. Ronald Kelly. Prod. Norman Sedawie. CBUT, 4 Aug. 1955. (2 video cassettes, 1/2 and 3/4 inch; 30 min.) These tapes are available in The Ethel Wilson Collection. Sitting beside a fireplace and drinking tea served by Ethel Wilson from a silver tea service, Daniells questions Wilson about her writing and views. He first asks Wilson about her reaction to critical reviews, reads a flattering excerpt from Sean O'Faolain's review, and queries what her "gamut" is. He then asks about the origin of Nell Severance, the number of Wilson's characters that predominate to the point where they push men into the background, and her reoccurring theme about women in difficulty who flee and rehabilitate themselves. Wilson denies being consciously influenced by other writers, saying "One simply writes," but does discuss her favourites--Fielding, Forrester, Defoe, and Proust--mentioning attributes of each.
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Source: McComb, Bonnie Martyn (compiler); . Part 2: Works On Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 430-477 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP2.
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Record: 293- Title:
- Part 2 Works on Ethel Wilson; Book, articles and sections of books, bibliographies, theses and dissertations, interviews, audio-visual material, and awards and honours; Theses and dissertation
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- Part 2 Works on Ethel Wilson; Book, articles and sections of books, bibliographies, theses and dissertations, interviews, audio-visual material, and awards and honours
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
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- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 2: Works On Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 430-477)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 2: Works On Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 430-477
Part 2 Works on Ethel Wilson; Book, articles and sections of books, bibliographies, theses and dissertations, interviews, audio-visual material, and awards and honours; Theses and dissertation
McComb, Bonnie Martyn (compiler)
C135 Clarke, Helen Marguerite. "Related Themes in the Fictiion of Ethel Wilson." M.A. Thesis British Columbia 1964. Clarke sees Wilson as an Existential humanist who provides a positive course of action to make life worth living. In Wilson's portrayal of the fittest surviving, Clarke views the seagull as a symbol of steady purposeful living. She describes Wilson's primary postulation as "... man is involved in Mankind yet swims alone." That many of Wilson's characters are addicted to reading the newspaper, which is "one way of vicariously experiencing life," demonstrates characters who are involved with society. In a discussion about the unsatisfied women who haunt Wilson's fiction, Clarke notes that women who "find their fulfillment in creative occupations or independent subsistence as do men" are the ones Wilson admires because they "fulfill the promise of her positive philosophy of continuity."
C136 Campbell, Barbara. "The Themes and Techniques of the Fiction of Ethel Wilson." M.A. Thesis Toronto 1967. Campbell explores Wilson's primary concern "with the enigma of life" and the recurring notion that "No Man is an Island entire of Itself." Campbell also discusses the technical mastery of time sequence and the viewpoint which accounts for the "major originality and interest" in Wilson's work. She includes subject matter, characterization, and plot under theme; and devices of irony, point of view, dialogue, description, and symbolism under technique. In the Introduction, she summarizes many of the published articles about and by Wilson and integrates them in a lengthy bibliography.
C137 Campbell, Robert Leo. "Imagery and Symbolism in the Fiction of Ethel Wilson." M.A. Thesis New Brunswick 1967. Campbell analyses the symbols and images in each novel, each "novelette," and each short story and includes a lengthy definition and clarification of his terms. The symbols and images examined include mirrors, light and darkness, colours, names, water, the lake, feline actions and appearances, birds, Pan, shoe images, the fisherman, fish, seals, and Ellen's scar. The symbol of the moving curtain for time is "hackneyed." Maggie with her yellow bowl is an echo of Mrs. Severance with her Swamp Angel. The use of images and symbols in Love and Salt Water reinforces the theme of appearance and reality. Campbell would be inclined to accept a sexual interpretation of the water, the cormorant, and the pillar in Love and Salt Water, but not in the other novels.
C138 Walker, Dorothy Frances. "A World in a Grain of Sand: An Appreciation of Ethel Wilson, a Canadian Writer with Idenuty." M.A. Thesis Mount Allison 1967. Walker's intention is "to make a general survey of Mrs. Wilson's novels, and to offer an appreciation and criticism of them" and "to show that Mrs. Wilson's identity as a novelist is quietly but assuredly Canadian." Wilson's Canadian qualities are irony, prudence, chance encounters which "seem particularly to be a part of life in Western Canada, where life is still relatively unsettled," and the comparative ease with which people "change their pattern of living."
C139 Robinson, Samuel. "The Novels and Short Stories of Ethel Wilson: An Examination of Her Symbolic Technique." M.A. Thesis Saskatchewan 1969. Robinson examines "accidental" and "universal" symbolism as a part of Wilson's work, as a device which works directly on the intellect and emotions of the reader, which causes him to become involved, and as a means by which to present her "taste of reality." Wilson's "symbol patterns" not only describe personality traits, but classify protagonists into definite types: "those who live a significant, meaningful life and those who do not." In the short stories, Robinson sees three adversities to the human condition: the impartiality and insensitivity of fate, man's inhumanity to man, and man's dull despair of spiritual unrest. He examines the belief in the transmigration of the soul in "Haply the Soul of My Grandmother" and the example of apocalyptic literature in the rarely analyzed "A Visit to the Frontier." Wilson's entire body of fiction symbollzes the plight of common man in the modern world and Wilson's ultimate goal is to affirm the beauty of life. The Innocent Traveller is not discussed because Wilson does not use a consistent pattern of symbolism to develop Topaz's character.
C140 Mitchell, Beverley Joan. "The Interested Traveller: Major Themes in the Fiction of Ethel Wilson." Diss. New Brunswick 1976. In her abstract, Sister Beverley Mitchell says the major themes reflect Wilson's "understanding of the various relationships which are a necessary part of the human condition: the individual's relationshlp with others, with himself, with the natural world, and with God." Mitchell examines "the various effects which may result because man is necessarily 'alone,' 'involved,' and 'responsible.'" Mitchell analyzes Hetty Dorval, The Innocent Traveller, and Equations of Love. Wilson most obviously sympathizes with the characters who have an "interiority and capacity for essentially private and personal experience very like her own." Mitchell discusses and disagrees with Hallvard Dahlie's "O Canada" comments (C68), John Moss's "analgesic" comments (C64), and Pacey's comments about this novel falling short of its predecessors because of its "thematic uncertainty" and "relative paucity of unifying images and symbols" (C1). The changes in the Harper edition "violate the author's usually impeccable style" and "alter the story." Mitchell catches a geographical error about the Illecillewaet River, identifies Three Loon Lake as Lac Le Jeune where the Wilsons spent their honeymoon and subsequent summers, and compares Vera to the people who committed suicide in Dante's Inferno. This study is based upon Mitchell's examination of the Wilson Papers and reveals some otherwise unknown information.
C141 Aveling, Roger J. "Identity and the Journey Motif in the Novels of Ethel Wilson." M.A. Thesis McGill 1977. Aveling defines Wilson's "concept of identity" and shows "the ways in which she makes use of it in her novels." He demonstrates "the fundamental relationship between identity and the journey motif, pointing out that. . .the journey suggests three types of movement: spatial, temporal, and psychological." Spatial and temporal journeys "reveal characters' identities." The "psychological journey [is used] as a means of portraying a change of identity and shows how change is often associated with a quest and a battle."
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Source: McComb, Bonnie Martyn (compiler); . Part 2: Works On Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 430-477 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP2.
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Record: 294- Title:
- Part 2 Works on Ethel Wilson; Selected book reviews; Hetty Dorval
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- Part 2 Works on Ethel Wilson; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Criticism & interpretation -- Bibliography
Titles critiqued: HETTY Dorval (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 2: Works On Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 430-477)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP2
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Source: Part 2: Works On Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 430-477
Part 2 Works on Ethel Wilson; Selected book reviews; Hetty Dorval
McComb, Bonnie Martyn (compiler)
D1 Lane, Georgie. "'Hetty Dorval Wrote Itself,' Says Author of New Novel." The Vancouver Sun, 9 May 1947, p. 19. This review includes several interesting background details about Wilson and the writing of Hetty Dorval. Lane calls the book an "allegory of good and evil" and says that Wilson regards it as perhaps primarily a woman's book.
D2 Wallace, Pat. "'Hetty Dorval' Plot Comes as Dream Gift to Local Woman Authoress." The Vancouver Province, 9 May 1947, p. 12. Wallace dwells on Wilson's personal charm, intellect, and writing skills. Wallace adds that Wllson's affection for the outdoors, fishing, and animals brings warmth and reality to words on paper and that Hetty Dorval's theme as the "influence of the kind of homes in which people grow, upon their actions in life."
D3 "Selfish Siren, Girlish Admirer Pictured By Vancouver Author." Toronto Daily Star, 10 May 1947, p. 23. Calling Hetty an enigmatic and tantalizing charmer, the reviewer wonders "whether in real life any Lorelei so frigidly egotistical as Hetty could prove so irresistibly magnetic as she does in this story." He thinks Wilson reveals a child's heart and sustains mood with the skill of a Rosanna Lehmann.
D4 "Lovely Parasite in Clever Study." The Globe and Mail, 17 May 1947, p. 12. Frankie is so good and wholesome that the first half of the story fails to produce much excitement, but an ocean voyage and change of scene to London wakens keen interest. In the last quarter all kinds of tense and dramatic things happen. As a dual character study, Hetty Dorval is good with flashes of brilliance.
D5 "Fatal Woman." Vancouver News-Herald, 11 June 1947, p. 5. This book is a penetrating study, an auspicious literary debut for Ethel Wilson.
D6 McDevitt, Christy. "B.C. Writer's First Book." Saturday Magazine [The Vancouver Province], 7 June 1947, p. 4. McDevitt finds Hetty Dorval a book filled with potent beauty, excellent writing which almost has the flavour of The New Yorker, rare philosophy, and some novel and brilliant ideas. Wilson tells the story with unexpected sophistication.
D7 Hurlow, W. J. "Under the Reading Lamp: 'Hetty Dorval'--A Canadian Story of a Selfish Woman." The Evening Cttzzen [Ottawa], 21 June 1947, n. pag. In this lengthy and chatty review that refers to the author as "Edith Wilson," Hurlow calls Hetty Dorval a fine piece of genuine psycho-analysis. Wilson makes us think of the subtlety of Henry James although she has the advantage in interweaving action with introspection and writing in smooth uncomplicated language.
D8 Campbell, Kay. "The Secretary's Letter." Letter. The Narrator, July 1947, p. 6. This letter to the members at large calls Hetty Dorval, the July Recommendation of The Narrator Book Club, a "pet of pets" that the readers should find is the best thing they've read in ages.
D9 Sealey, Ethel. "In Review." The Narrator, July 1947, pp. 13, 14. This novel is compact, good writing, creative and imaginative, and a work with character. Without verbiage or padding, the story is gripping and the discriminating English is a delight. "It may be classified as a Canadian novel, but it belongs to the universal."
D10 T., I. W. "A Gem of Literature." Letter. The Narrator, July 1947, pp. 28, 30. Written by a charter member who was asked to read the book, this letter to the editor says it is difficult to describe the charm of the book. Wilson, with a light touch and the deftness of an artist, develops her characters against a background of beauty; there are descriptions never to be forgotten.
D11 W., R. "Selfish Worldling." The Spectator [Hamilton], 16 Aug. 1947, n. pag. The theme is a battle between good and evil told with skill and artistry though the first chapter or two seem somewhat tedious.
D12 James, Edith. "Some of the Latest Fiction in Brief Review." San Francisco Chronicle, 31 Aug. 1947, p. II. Readers of Hetty Dorval will believe the adage that good things come in small packages. "Nothing much ever happens, but that shouldn't bother you, for Mrs. Wilson's writing has the precision of Janet Lewis and the singing quality of early Willa Cather."
D13 Krim, Seymour. "As Visible as Green." The New York Times Book Review, 14 Sept. 1947, p. 16. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, p. 372. The novel has "just enough solid merit to make its ultimate failure a matter of regret." Although the writing is sharp-eyed and painstaking and talent is apparent in accurate insights and perceptions of human nature, Wilson runs thin in her literal "one-to-one equation" of "Hetty equals Bad." Consequently, this novel with its singleness of purpose is a dull story, mainly because Mrs. Wilson tells about things instead of showing them.
D14 "Book Briefs." Canadian Author & Bookman, 23 (Fall 1947), 46. Wilson's theme is "the triumph of inherent good over attractive evil."
D15 Feld, Rose. "The Strange Woman." New York Herald Tribune Book Review, 19 Oct. 1947, p. 14. While complimenting the sensitive probing of Frankie's emotional and critical coming of age, Feld thinks that a shrill note of melodrama mars the ending. "Mrs. Wilson is much more effective and convincing in portraying the relationship between a wide-eyed child and an unscrupulous woman than she is in depicting the conflict between a nineteen-year-old girl and a femme fatale."
D16 Hammerston, Claude. "Stage 48 Presentation Really 'Stupendous.'" The Evening Citizen [Ottawa], 21 Feb. 1948, n. pag. Hammerston praises the superb CBC adaptation of Hetty Dorval. Shule followed the book closely and Barbara Kelly played Hetty so effectively that the part seemed to be specially created for her. Hetty Dorval is the type of book producers dream about: "It is not too wordy, nor is it full of description and useless conversation used by so many present-day authors to fill up the space."
D17 Bissell, Claude T. "Letters in Canada: 1947. Fiction." University of Toronto Quarterly, 17 (April 1948), 265, 272. Although Bissell thinks that the fresh central point of view is appropriate to an intelligent and perceptive adult as well as a technical achievement, he considers the evidence of future talent the main importance of this slight first novel.
D18 MacLellan, Dunstan. Rev. of Hetty Dorval. Culture, 9 (June 1948), 214-15. MacLellan praises the intelligent and wholesome atmosphere in this book, which he finds devoid of descriptions of cheap sentiment. He praises Wilson's mastery of her pen, and her understatement which allows the reader to feel a situation without her painting it all. This is a Canadian story written by a "real Canadian" about a real product of Canadian soil, but it is not the "great Canadian novel," because Wilson has not yet mastered a complete technique of unity; the novel has two narrators, Frankie and an intruding author.
D19 Shanks, Edward. "Stories of Two Mystery Women." Daily Graphic [London], 15 July 1948, p. 6. The final episode seems a "little scamped," but Wilson has a strong instinct for economy, obviously because she is aware of her own power for saying much in few words. The denouement in which Hetty discovers the truth about her origins is a trifle melodramatic, but its after effects are worth watching.
D20 "Feminine Responses." The Times Literary Supplement, 24 July 1948, p. 413. Wilson avoids the cloying effect of the purely feminine response to life in fiction where women are "even more tiresomely sensitive and emotional than they are in real life" by brevity, artlessness, and sincerity. Her portrayal of Hetty is touching and just and her rendering of Frankie's parents "delightfully escapes sentimentality." The reviewer's only reservations are that Wilson reveals the siren's true character too soon and she describes Hetty too directly.
D21 Bowen, Elizabeth. "Ehzabeth Bowen's Book Reviews." Tatler [London], 11 Aug. 1948, n. pag. Wilson avoids the pitfall of novels about youthful infatuation: she does not overstress the sensations of disillusionment. This is an unusual picture of a femme fatale; Mrs. Dorval is drifting, is inconsequent, gives the impression of mysteriously withholding herself, and has an odd vein of innocence. It was an inspiration to present Mrs. Dorval, a "man's woman," through the eyes of a little girl. There is a likeness between this novel and Rosamond Lehmann's The Ballad and the Source, but Wilson is guiltless of imitation for her technique and her imagination are quite her own. When the story moves to England, something feels astray.
D22 K., E. O. D. "A Winner from Canada." Punch, II Aug. 1948, n. pag. This is a first novel of unusual promise. From the charming descriptions of a happy childhood and tenderly drawn parents spring portraits, "firm and balanced in spite of being lightly sketched, of two women totally different, one shrewd and kind and sensitive, the other a bright flower of opportunist selfishness."
D23 Crosbie, Mary. Rev. of Hetty Dorval. Birmingham Post, 12 Aug. 1948, n. pag. No moment is blurred, no incident "written up."
D24 Engels, Emily. Rev. of Hetty Dorval. Now, Sept. 1948, p. 4. A strong, intelligent work.
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Source: McComb, Bonnie Martyn (compiler); . Part 2: Works On Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 430-477 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP2.
Item Number: ABCMA05EWP2000005005004001
Record: 295- Title:
- Part 2 Works on Ethel Wilson; Selected book reviews; Lilly's Story
- Other Title:
- Part 2 Works on Ethel Wilson; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Criticism & interpretation -- Bibliography
Titles critiqued: LILLY'S story (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 2: Works On Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 430-477)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP2
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Source: Part 2: Works On Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 430-477
Part 2 Works on Ethel Wilson; Selected book reviews; Lilly's Story
McComb, Bonnie Martyn (compiler)
D58 Keate, Stuart. "Up from Skid Road." The New York Times Book Review, 3 May 1953, pp. 5, 22. Keate admires this story told with "infinite tenderness, wit, and perception, and with an economy of words." This book established Wilson's talent: "one of the most powerful forces to come out of Canada since uranium."
D59 North, Sterling. "Magic of 'Lilly's Story' Is Difficult to Describe." The Washington Post, 3 May 1953, p. 6B. Rpt. (revised--"The Bookshelf") in The Vancouver Sun, 30 May 1953, p. 21. Lilly's Story, a heart-warming classic, has humour, honest realism, restrained beauty, devotion to a cause, a rather austere poetry-of-character, excellent dialogue, suspense, heartbreak, and fulfillment. It is as if Mildred, not Maugham, wrote Of Human Bondage. North notes Eudora Welty's reference to the book's wisdom, quietness, and power and Jean Stafford's praise of its many virtues; when tough old professionals are so carried away by a tale as by this one, you may be sure it contains extraordinary magic. Although the reprint lists The Equations of Love at the top, it does not mention "Tuesday and Wednesday." However, the comments about Welty and Stafford are omitted and a new final paragraph describes the novel as a heart-warming classic.
D60 Stallinga, Sylvia. "All for the Sake of Baby." New York Herald Tribune Book Review, 3 May 1953, p. 4. An engaging fairy tale of simple stuff that unfolds "with a wise simplicity that makes most other novels seem as if they had been written with battering-rams" and ends with a comic tenderness that reminds the readers of how little is made in fiction of all the infinite possibilities of the human heart.
D61 Jackson, Joseph Henry. "Bookman's Notebook: Here's a Beautiful Novel." San Francisco Chronicle, 7 May 1953, p. 19. A serious and beautifully done novel and tender, warm little story that will restore a reader's waning confidence in fiction. Wilson is a skilful and thoughtful writer whose full control of her material and understanding of what people are have produced "an uplifting yet never goody-goody story of the triumph of human character."
D62 "Briefly Noted." Rev. of Lilly's Story. The New Yorker, 9 May 1953, p. 137. In this inertly written lesson on how to creep through life, Lilly is a self-reliant but uninteresting waif. "There seems to be no particular reason her story should have been told, even in this thin and sketchy fashion."
D63 Prescott, Orville. "Books of The Times." The New York Times, 15 May 1953, p. 21. Prescott admires Wilson's writing with its felicitous grace, humorous detachment, and wit that makes the basic failure of the characterization almost pass unnoticed. It is a clever and entertaining narrative, but a superficial one.
D64 Morgan, Constance. "Slut's Progress." Saturday Review, 16 May 1953, p. 42. In less skllful hands, Lilly's shrewd and ruthless campaign to become respectable might make a harsh or sentimental novel, but Wilson escapes both traps with a light, dry humour and meticulous detachment. Lilly is a likeable heroine. The contrast between her raffish history and puritan role is more than beguiling; it is also very moving.
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Source: McComb, Bonnie Martyn (compiler); . Part 2: Works On Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 430-477 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP2.
Item Number: ABCMA05EWP2000005005004004
Record: 296- Title:
- Part 2 Works on Ethel Wilson; Selected book reviews; Love and Salt Water
- Other Title:
- Part 2 Works on Ethel Wilson; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Criticism & interpretation -- Bibliography
Titles critiqued: LOVE and salt water (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 2: Works On Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 430-477)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP2
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Source: Part 2: Works On Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 430-477
Part 2 Works on Ethel Wilson; Selected book reviews; Love and Salt Water
McComb, Bonnie Martyn (compiler)
D82 Oakes, Philip. "Long Wait for a Jackpot." Evening Standard, 18 Sept. 1956, p. 14. "An excellent assured performance by Canada's best writer. Not a word out of place, and none too many."
D83 "New Fiction." The Times, 20 Sept. 1956, p. 13C. The reviewer feels that this is a sound piece of prose, but it does not leave "such a strong impression." The sense of place is strong, "But there seems to be no reason why these adventures should have come to this particular person."
D84 Wallace, Doreen. "Novels by Weight." Eastern Daily Press, 8 Sept. 1956, p. 510. Wilson is a stylist whose precision of wording allows the reader to move so quickly that he wants to go back and "see just why the people and scenes are so vivid." The title tells all one needs to know in advance about the story itself, but it does not indicate the almost hidden depths of feeling.
D85 de C., N. "Water and the Heart." Western Mail, 3 Oct. 1956, p. 8. After briefly summarizing the importance of love in Ellen Cuppy's life, the reviewer admires Wilson's style with its "will-o'-the-wisp charm" which carries her writings out of the every-day.
D86 "Novel Psychology." The Times Literary Supplement, 5 Oct. 1956, p. 581. The reviewer says this is an "artful-artless tale" written with subtlety, delicacy, and charm in a distinctive and original tone and pace. Wilson owes something "to a number of writers, from Miss Elizabeth Bowen to the unjustly forgotten Frances Newman."
D87 "Ethel Wilson Is at Best in 'Love and Salt Water.'" Toronto Daily Star, 6 Oct. 1956, p. 12. The "most un-Canadian Canadian novelist," her Englishness of vision explains why it may cause even more vivid appreciation in Britain. Wilson is a transmuter of life, and the novel has an impact as intangible as a perfume. "It is rather as if Virginia Woolf had lived in and written about Toronto's Rosedale."
D88 Hill, Harriet. "With Flashes of Insight." The Gazette [Montreal], 13 Oct. 1956, p. 31. The promise shown in Swamp Angel has been vindicated. Wilson's economy with words is polished down to simplicity, her outlook has a rare maturity, and her story reveals flash after flash of illumination. A pleasure "to be sipped like old brandy."
D89 Nicol, Eric. "Books." B.C Magazine [Vancouver Province], 17 Nov. 1956, p. 16. Wilson is an "impressionist" who captures the "special tang" of the local waters. She moves from strength to strength in her writing and her almost telegraphic style gains in power and completeness of effect without losing its characteristic grace or gentle humour.
D90 "'Notes for the Novel-Reader." The Illustrated London News, 17 Nov. 1956, p. 864. On one hand, the reviewer compliments the poetic unity of the voyage, the casual yet "happy epithets," and the lack of cliches, but he calls it a slight and uneven work in which some readers will see nothing. He says Wilson is one of the few "'pure-blooded, dyed-in-the-wool-amateurs" who are apt to be women and who write as they like; the novel is the last thing one could call a good story; and the story is something that "would make a professional's hair stand on end," yet the story is about life and its gait is "an indescribable compound of fireside chat and violin solo."
D91 Pederson, L. M. "Autumn Fiction." Saturday Night, 24 Nov. 1956, p. 32. Although Wilson's style is as clear and as deft as usual, the story is much slighter than is common and Part III seems to be a separate short story.
D92 King, Carlyle. "Fiction Chronicle." The Tamarack Review, No. 2 (Winter 1957), pp. 71-72. Wilson examines the human predicament of women who try to find "meaning, order, value" in their everyday lives. He feels that pieces of this novel fall into categories of good and "so-so." Part II becomes dull in its attempt to cover too great a period of time, whereas Part I's treatment of the way in which Ellen copes with the loss of her mother and the alienation of her father is much more successful.
D93 Rev. of Love and Salt Water. Canadian Medical Association Journal, 76, No. 2 (Jan. 1957), 171. This review considers the novel "lean" and "spare" without any "superfluous fat." With a fine concept of and love for the Canadian scene, Wilson reveals much in few words, retains interest in tranquility, and assures her continued place as an important Canadian writer with her sensitive imagination and charming style.
D94 "Bookshelf." Canadian Author & Bookman, 33 (Spring 1957), 19. Wilson "serenely ignores all literary fashions and foibles and goes her own very feminine way with so much grace as to make more pretentious authors seem a little ridiculous." Loss, grief, injury, and love, recorded by Wilson's sensitive and wise hand, have "the conviction of absolute truth always, even when melodrama rears its unsightly head as it tends to do in her climactic chapters." The real charm, however, is its style; Wilson is "the only novelist in this country capable of prose."
D95 Waddington, Miriam. "Canadian Novelists." Rev. of Love and Salt Water, by Ethel Wilson; and The Wooden Sword, by Edward McCourt. Queen's Quarterly, 64 (Spring 1957), 143-44. In this detailed study, Waddington analyzes Wilson's individual and "organic" style and her success at making her characters' experience of life authentic. The universal subject of "love, its losses, and restorations" are present in Love and Salt Water. Although Waddington finds the third part of the novel weak, she thinks Wilson performs magic with "mirrors" in the first two sections and creates a world that one instinctively likes unless "one is alienated."
D96 Bissell, Claude T. "Letters in Canada: 1956. Fiction." University of Toronto Quarterly, 26 (April 1957), 316-17. Bissell thinks the heroine is a diverting successor to Hetty Dorval, the success of the novel is the creation of a general world of human emotions, and the point of view is gay and warm-hearted, with a tonic note of irony and withdrawal. Wilson "has some difficulty in persuading us to focus on her heroine."
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Source: McComb, Bonnie Martyn (compiler); . Part 2: Works On Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 430-477 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP2.
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- Part 2 Works on Ethel Wilson; Selected book reviews; Mrs. Golightly and Other Stories
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- Part 2 Works on Ethel Wilson; Selected book reviews
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- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Criticism & interpretation -- Bibliography
Titles critiqued: MRS. Golightly and other stories (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
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Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 430-477)
ISBN: 920802680 (hardcover)
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Source: Part 2: Works On Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 430-477
Part 2 Works on Ethel Wilson; Selected book reviews; Mrs. Golightly and Other Stories
McComb, Bonnie Martyn (compiler)
D97 T., A. "Ethel Wilson Stories." The Calgary Herald, 30 Sept. 1961, pp. 8, 9. A few stories, the reviewer feels, are not so well written as others, or are too familiar to "avid readers and listeners of CBC" to be enjoyed again. He admires Wilson's hawk's eye for the frailties of humanity, maturity, wisdom, and keen insight into her main theme of "Quiet Desperation," but finds her tendency to cram her tales with "rather obscure symbolism" bordering on the ambiguous.
D98 Cross, Sarah O. "Rich in Originality." The Gazette [Montreal], 7 Oct. 1961, p. 29. Her descriptive prowess is rich in originality, vivid with the colours of truth, and filled with invigorating freshness. Her attacks on society and humanity have a balanced restraint, sanity, good humour, delicate satire, a wit that is never caustic, and an effective shrewd eye cloaked in "pseudo-naivete."
D99 Stainsby, Donald. "Delicate, Precise Prose Shines in Collection of Wilson Stories." The Vancouver Sun, II Oct. 1961, p. 5. The stories share similarities with Wilson's novels: incisive curiosity, perfectly accurate prose, exact sense of riming, and remarkable sense of place. Wilson is a fine example of the regional writer, and it is the soul of Wilson's art rather than a limitation. In contrast to many critics, Stainsby feels the title story pales next to "From Flores."
D100 Stafford, Ellen. "For Tired Taste-Buds: She Sees the Inner Worlds." The Globe and Mail, 21 Oct. 1961, p. 22. Wilson is an intensely personal writer who knows more than she reveals, who is receptive and perceptive to the world which she illuminates with a rare sensibility and exactness of touch, who creates an aura of talking with the author instead of merely reading the author's book, and who "sees beyond the bodily busyness to the inner worlds in which we live." Quoting E. M. Forster's evaluation of Virginia Woolf's writing, Stafford says that Wilson's writing is similarly not "about something," it "is something."
D101 E., T. "Short Stories Gripping." Rev. of One Way Ticket, by Norman Levine; and Mrs. Golightly and Other Stories, by Ethel Wilson. B.C. Magazine [Vancouver Province], 28 Oct. 1961, p. 7. In comparing these two collections, the reviewer finds their dependence on mood, characterization, and surrounding, rather than on plot, to be similar, but considers Wilson an undeniably superior writer because of her more polished style and greater diversity of subject matter and presentation.
D102 Kirkwood, Hilda. "Realist with a Difference." Saturday Night, 28 Oct. 1961, pp. 41-42. Kirkwood views many stories with a favourable eye, but discovers flaws of authorial intrusion in "Fog" and "Beware the Jabberwock" She praises Wilson's undeluded humour, unclouded vision, charitable sense of the ridiculous, and humanism, yet thinks that "We Have to Sit Opposite" should be omitted: "The anti-German sentiment is not worthy of so large-hearted a writer."
D103 S., J. "Extraordinarily Compelling." Saskatoon Star, 29 Oct. 1961, n. pag. The reviewer compares Wilson to Elizabeth Bowen because of a poetic use of language to evoke atmosphere and reveal personality, compassion for human kind both shy and bold, and delicate suggestive use of mysticism. Familiarity breeds only greater admiration for this talented writer.
D104 Bishop, Dorothy. "A Novel of the Week." The Ottawa Journal, II Nov. 1961, n. pag. With illumined craftsmanship, Wilson's valued and rare voice and her investing of the human dilemma with "the releasing order of art" brings us a gift no other Canadian author has.
D105 Graham, Kathleen. "This Week I Read." The Leader-Post [Regina], 25 Nov. 1961, n. pag. Graham discovers that this collection reaffirms her appreciation of Wilson's wit, humour, keen sense of drama, mystical quality, and frightening accuracy of penetration beyond the surface of human relationships.
D106 Weaver, Robert. "Tour de Force: Mrs. Golightly Humane, Witty AND Canadian." Toronto Daily Star, 9 Dec. 1961, p. 30. It is "not easy to be at once humane, witty, ironic, and Canadian," but Wilson succeeds. She belongs to an English civilized and stylish literary tradition yet her sharp-edged moral discrimination gives her writing a contemporary flavour and significance. She displays a quiet, intellectual toughness similar to that of E. M. Forster and evades the Canadian blight of writing about childhood.
D107 Gloin, Lew. "Medalist Ethel Wilson Displays Deft Writing." The Spectator [Hamilton, Ont.], 23 Dec. 1961, n. pag. These stories share similar qualities with Wilson's novels: light dry humour conditioned by humility, experience, and taste; deftness with characters who "create an impression, not a bruise"; and a gentle, somewhat sardonic comment on human behaviour.
D108 Cook, Eleanor, and Ramsay Cook. "Writing in Canada." In Canadian Annual Review for 1961. Ed. John T. Saywell. Toronto: Univ. of Toronto Press, 1962, p. 361. The Cooks praise the gracefully and naturally contrived stories "'To Keep the Memory of So Worthy a Friend'" and "Till Death Us Do Part," but consider "God Help the Young Fishman" heavy-handed satire and "From Flores" a stark disaster that does not leave room for Wilson's expansive humanity.
D109 Gallagher, Patricia. Rev. of Mrs. Golightly and Other Stories. The Tamarack Review, No. 22 (Winter 1962), pp. 95-96. Although short stories often lose their impact within the context of a collection, these stories enhance each other, and "the whole effect is of a continuity of experience." The book reveals Wilson's insight, objectivity, and "a remarkable talent for distilling the essence of a situation." The shorter stories are "incisive and illuminating," while the longer pieces display skill and perception.
D110 Smith, Marion B. "Sipped and Savoured." Canadian Literature, No. ix (Winter 1962), pp. 67-68. This analytical review considers the unevenness of the collection. In contrast to many critics, Smith considers the shorter and first-person stories less successful and she thinks Wilson sounds like an educated woman trying to portray how she thinks a shop-girl might speak in "Till Death Us Do Part." The virtues, however, outweigh the weaknesses according to Smith, who compares reading the collection to sipping and savourmg the best Chinese tea.
D111 "New Fiction." Rev. of A Spirit Rises, by Sylvia Townsend Warner; and Mrs. Golightly and Other Stories, by Ethel Wilson. The Times, 18 Jan. 1962, p. 13. Rpt. ("Rough Round the Edges") In Times Weekly Review, 25 Jan. 1962, p. 10. In a comparison of Wilson's collection with Sylvia Townsend Warner's, the reviewer notes that they both write with delicacy and precision, draw vignettes of slightly odd characters, and surround and examine a single emotional relationship or fleeting impression. While many of Warner's stories have appeared in The New Yorker, "Wilson's stories only seem as if they had."
D112 Shackleton, Edith. "New Books." Lady, 18 Jan. 1962, p. 85. Wilson's freshness, restraint, delicacy of approach, shrewd humour, and compassionate outlook give underlying subtlety to these superficially simple tales without resorting to shock tactics or freakish characters. Wilson creates real people out of what could easily be stock characters and her background theme is often the essential loneliness of the human spirit.
D113 "Over Short Distances." The Times Literary Supplement, 19 Jan. 1962, p. 37. Wilson is most successful when she is "gay or chattery" or playing unearthly tunes, but when "dressed in the full-dress robes of a tragedy queen" in "From Flores" and "Fog," her note sounds a bit strained and hollow.
D114 Harvey, Elizabeth. "Old and New Worlds." Birmingham Post, 30 Jan. 1962, p. 4. Wilson's writing seems like a breath of fresh air with its bite and compassion, wit and variety, and illumination of scenes and characters. "None of the stories sprawls or unravels at the edges but each says exactly what the author intends it to say in the clearest possible terms."
D115 "Short but Sound." The Guardian [Manchester], 1 Feb. 1962, p. 11. A very entertaining collection of intelligent and individual short stories. Many have the advantage of an unusual background (British Columbia); some might be called "ecole de New Yorker"; and the funny parts are more successful than the serious.
D116 Tindall, Gillian. "The Meat of the Story." Time and Tide [London], 1 Feb. 1962, p. 37. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, p. 374. Wilson's stories are comparable with Sylvia Townsend Warner's, but not so good. There are sensitive stories about women and very much for women--yet most do not quite live up to what they are aiming at: there are good ideas, but not always good story ideas. Too often the twist is either missing altogether or else disappointingly semi-detached from the rest of the story.
D117 Fane, Vernon. Rev. of Mrs. Golightly and Other Stories. Sphere, 3 Feb. 1962, p. 208. After discovering Wilson's delicacy of touch, Fane intends to seek out her other books. "Truth and Mrs. Forrester" should be "required reading for anyone attempting this literary form."
D118 Mulkerns, Val. "Stars and Underlings." Irish Times, 10 Feb. 1962, p. 8. Wilson is a "latter-day, tougher and much more humorous Katherine Mansfield" with her "cats-paw delicacy," bright, childlike vision, and orderly brain.
D119 Sterck, Sidney. "Entertainment from a Trio." Newcastle Journal, 10 Feb. 1962, Sec. Magazine, p. 2. Although lacking the "polish of the master spellbinders," Wilson offers good entertainment with her versatility, light dry wit, and keen insight into human nature.
D120 "Recent Fiction: Ireland & Canada." Church Times, 16 Feb. 1962, p. 6. Wilson has a clever pen, sharp eye for human foibles, understanding heart, light touch, and range of subject matter. She makes many other story-tellers seem "mere amateurs by comparison."
D121 Torvaney, W. R. "Sherriff of 'Journey's End' in Top Form." Press and Journal [Aberdeen], 17 Feb. 1962, Sec. Magazine, p. 2. Under the subtitle "Delectable" and using the royal "we," Torvaney says Wilson excels herself in this collection with delectable wit, lighthearted yet polished reportage, and descriptive undertones.
D122 Pacey, Desmond. "Books Reviewed." The Canadian Forum, March 1962, p. 285. Wilson's usual grace of style, quickness of observation, and adept social comedy are here, but her stories lack the depth and complexities of her best novels.
D123 "Sketches Have Charm, Colour and Movement." Natal Mercury, 27 March 1962, n. pag. The reviewer admires Wilson's double flair for pinning down tricks of human nature and catching the atmosphere of place as well as her pervading gift of satire that disarms "the reader's constant suspicion that her ideas float too near the surface of life to tell him much about it." Although he compliments Wilson's crystal-clear, fluid, and deceptively simple style, he thinks the simplicity is sometimes irritating and that there is more than a touch of the woman's glossy magazine.
D124 "Books." Vanity Fair, April 1962, n. pag. Wilson writes her witty, wise short stories with an exactness of ear and eye, a gentle urbanity that corrects her admirable and perceptive irony, a quiet sure ease, a tolerant humour, and a probing honesty.
D125 Kelly, Clive. The Advertiser [Adelaide], 24 April 1962, n. pag. Lively stories written with charming humour or unearthly drama, in moods ranging from lighthearted satire to Gothic fantasy and the grimly macabre, by a "fastidious stylist whose highly individual work is both graceful and impressive."
D126 "Short Stories." The Times of India, 27 May 1962, n. pag. Wilson has "remarkable human insight, coupled with a splendid gift for the evocative word or phrase" and she is equally skilful in her recording of a variety of moods.
D127 Cogswell, Fred. "The New Books." Rev. of One Way Ticket, by Norman Levine; Mrs. Golightly and Other Stories, by Ethel Wilson; and Franny and Zooey, by J. D. Salinger. Queen's Quarterly, 69 (Summer 1962), 311. Wilson has a sense of the wonder of people who are caught in a world they cannot control. Wilson's style is "well-proportioned, seldom obstrusive," and Cogswell wishes that more Canadmn writers would indulge in the quality of fantastic imagination apparent in "Mr. Sleepwalker."
D128 Watt, E W. "Letters in Canada: 1961. Fiction" University of Toronto Quarterly, 31 (July 1962), 471, 472. The title story and "A Drink with Adolphus" live up to expectations, but the other stories are fragmentary and slight, "like sketches meant to take their place in longer works." While Wilson's "lightness of texture and design" may suggest that she would be more successful within the confines of the short story, Watt prefers her novels because in them the reader has more time to appreciate "those delicate glimpses of reality -- warm, wry, sad, wise--which are specially hers."
D129 Lindsay, A. "Mrs. Golightly Finds Life So Futile." Sheffield Telegraph, 22 Sept. 1962, Sec. Magazine, p. 2. Lindsay makes several observations about Wilson's uncanny sense of place, spontaneous impish wit, and sharply etched and rich diversity of themes. Although Wilson's spontaneous wit punctuates her storis, it often defeats her end by taking the edge off a "basically sober and didactic story."
D130 Hanenkrat, Frank T. Rev. of Mrs. Golightly and Other Stories. British Columbia Library Quarterly, 26, No. 2 (Oct. 1962), 29, 31. Although most of the stories are set in Vancouver, there is also a variety of other settings used in the collection. Wilson's strong sense of nature emerges in these stories, and the seashore or lakes recur in many. While Wilson is a "meticulous craftsman" who explores her characters' worlds with a "fine mixture of despair and sympathy," her experimentation mars several pieces.
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Source: McComb, Bonnie Martyn (compiler); . Part 2: Works On Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 430-477 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP2.
Item Number: ABCMA05EWP2000005005004007
Record: 298- Title:
- Part 2 Works on Ethel Wilson; Selected book reviews; Swamp Angel
- Other Title:
- Part 2 Works on Ethel Wilson; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Criticism & interpretation -- Bibliography
Titles critiqued: SWAMP angel (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 2: Works On Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 430-477)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
Book Control ID: ABCMA05EWP2
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Source: Part 2: Works On Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 430-477
Part 2 Works on Ethel Wilson; Selected book reviews; Swamp Angel
McComb, Bonnie Martyn (compiler)
D65 Rev. of Swamp Angel. Kirkus, 15 June 1954, p. 369. "The story is told simply, but with rare charm. While it shifts from one group of people to another, the pieces still fit into the larger whole, and the author makes one really care what happens to each."
D66 "New Fiction." The Times, II Aug. 1954, p. 8C. "Poetically vivid in description, controlled in forthright feminine feeling, edged with an astringent, philosophical humour, it makes extremely good reading." The oddly assorted ingredients are put together with a liveliness of imagination and a delicacy of good sense, but the Swamp Angel as a symbol evades the reader and seems superfluous. A certain arbitrariness in narrative design and an indulgence in oddities of psychology cloud Wilson's spirited sympathetic fancy.
D67 Parry, Idris. "New Novels." The Listener, 19 Aug. 1954, p. 295. Although the opening scene is superb, the hinted retionships often excitingly suggestive, and much of the novel fine and memorable, Wilson is disappointing when she "slumps to trite scenes" and "homely characterizations of glossy fiction." An inconstant overflow of emotional softness revealing Wllson's feeling personality has no business to intrude. The defined symbol of the Swamp Angel leaves the imagination out in the cold because it is the "response of the intellect, not of the soul."
D68 Deacon, William Arthur. "Ethel Wilson Humanly Wise in Novel of Fishing Camp." The Globe and Mail, 21 Aug. 1954, p. 32. The rapid rise and achievement of Wilson from her first novel which was "a bit of a jumble" to the natural unity and logical development arising out of character is remarkable. Maggie is a superb presentation of the most difficult type for literary portraiture: a normal, wholesome, good, and capable woman. Wisdom about people and life, conveyed by sure selections of incidents and dialogues, is the highly satisfactory kernel of the novel, and the use of minor and casual characters is adroit.
D69 "Ethel Wilson's 'Swamp Angel' Has British Columbia Locale." Toronto Daily Star, 21 Aug. 1954, p. 24. A pastoral drama. The story, Wilson's most assured, is "suffused with an almost Victorian aroma of lavender and bergamot," yet the writing has a "Virginia Woolf modernity."
D70 "Symbolism and Simplicity." The Times Literary Supplement, 27 Aug. 1954, p. 541. Swamp Angel, two short stories linked together, is remarkable for good writing and contains vivid descriptions, but the vivid descriptions "do not quite make up for the shortage of story content." Wilson evokes British Columbia and a "handful of striking characters; but she does not combine them with a sense of inevitability."
D71 Butcher, Fanny. Rev. of Swamp Angel. Chicago Sunday Tribune, 29 Aug. 1954, p. 3. "The fact that a story as simple as 'Swamp Angel' can be so filled with warmth and greatness of heart and understanding and humour and still seem so casually told, is probably what gives the book its invigorating air of freshness."
D72 Keate, Stuart. "Cariboo Country." The New York Times Book Review, 29 Aug. 1954, p. 17. Wilson writes in her refreshing, low-pitched, and gentle style and with a few newly acquired stylistic tricks. Unhappily, a series of flashbacks to Nell Severance, whose "cloudy philosophy and somewhat tenuous connection with the plot," divert the reader's interest in Maggie.
D73 Strong, L. A. G. "New Books" The Spectator [London, Eng.], 3 Sept. 1954, p. 294. With a quality very hard to convey, the telling is smooth, the tone of voice low, and the language economical; yet from the powerful opening to the end, "the story troubles the mind with overtones and reticences, as if each chapter were a moon with a hidden side more important than the one which Mrs. Wilson shows us."
D74 Taylor, Pamela. "Escape to the North." Saturday Review, 4 Sept. 1954, p. 22. Taylor finds this a deceptively casual and tantalizingly fragmentary story. The style, illuminated by occasional flashes of most engaging originality, is curiously varied. Mrs. Severance "walks away with the book" and compensates for any technical weakness.
D75 Culligan, Glendy. "It Has More Than Mounties: Novel Reveals True Spirit of Canadian Northwest." The Washington Post, 5 Sept. 1954, p. 6B. The Canadian Northwest, usually featuring red-coated Mounties in B-grade adventure movies, is hardly the place one would look for a subtle novel of character, which is distinguished by an unusual finesse of style, but after a few pages one feels apologetic towards British Columbia for harbourmg such a false view of its cultural standards. Wilson's approach to character is a compound of ironic humour, detachment, and affection; her style is highly personal; her narrative method has a whimsical originality; and she has an unusual sensitivity to natural beauty and a rare gift for conveying her impressions in brief, lyrical prose.
D76 Rosenberger, Coleman. "Man's Fellow Creatures on the Earth." New York Herald Tribune Book Review, 5 Sept. 1954, p. 4. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, pp. 373-74. The perfectly controlled, effective, opening pages give immediate promise of enjoyment to come, yet the enjoyment is not from a compactly plotted story, but a perceptive and often finely poetic examination of man's fellow creatures. Although the story has sharp insights into characters, passages of great beauty, and small bright surprises, it is "as a whole, inconclusive."
D77 Stern, G. B. "Our Bookshelf." Sketch, 8 Sept. 1954, p. 174. Stern describes the brave, serious Maggie who "has the gift of drawing wisdom and strength from all nature, and passing them on whenever and wherever they may be most urgently required" and whom Wilson has endowed with her own passion for fishing which must endear Wilson to fishermen in every land. Mrs. Severance is a "superb creation" of whose conversation "nobody would wish to miss a word."
D78 Graham, John. "Books." B.C. Magazine [Vancouver Province], 25 Sept. 1954, p. 13. In this quitly competent work, marked by Wilson's increasing skill and craftsmanship, her characterizations are sensitively drawn. Depending more upon mood than incident, this novel possesses a unique quality of restrained urgency.
D79 "Book Reviews." Monetary Times, Dec. 1954, p. 78. The reviewer finds the book humorous, subtle, and compassionate. Nell Severance, a wonderful, preposterous old woman, seems like a "benign Madam Blavatsky minus the mumbo-jumbo."
D80 Kirkwood, Hllda. Rev. of Swamp Angel. The Canadian Forum, Feb. 1955, p. 263. Wilson's handling of character, situation, and dialogue which is suffused with a warm tolerance and undeluded humour marks "a style which is unmistakably hers." The novel and its stories are honest, good-humoured, and touched with the magic of their setting, and Wilson's sure instruct for evocative detail make her characters live and breathe.
D81 Pacey, Desmond. "The New Books." Queen's Quarterly, 61 (Winter 1955), 555-56. Maggie, Mrs. Severance, and Hilda resemble other characters in Wilson's work, and the familiar setting of British Columbia also recurs in The Swamp Angel. Wilson avoids the melodrama, "incredible coincidence," and "coyness" that have marred her other books and has created a more carefully constructed novel. This book reveals her "precise and suggestive" imagery, her development of a sense of immediacy, her insight into different individuals and her "unsurpassed freshness of vision, her 'innocence.'"
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Source: McComb, Bonnie Martyn (compiler); . Part 2: Works On Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 430-477 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP2.
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Record: 299- Title:
- Part 2 Works on Ethel Wilson; Selected book reviews; The Equations of Love: Tuesday and Wednesday [and] Lilly's Story
- Other Title:
- Part 2 Works on Ethel Wilson; Selected book reviews
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Criticism & interpretation -- Bibliography
Titles critiqued: EQUATIONS of love: Tuesday and Wednesday [and] Lilly's story (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 2: Works On Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 430-477)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 2: Works On Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 430-477
Part 2 Works on Ethel Wilson; Selected book reviews; The Equations of Love: Tuesday and Wednesday [and] Lilly's Story
McComb, Bonnie Martyn (compiler)
D39 Hill, G. E. "Greenwich Village to Troy." Birmingam Post, 18 March 1952, p. 3. Wilson's work is in the style of painful realism; a "pruning of detail would make for easier reading."
D40 Charques, R. D. "Fiction." The Spectator [London, Eng.], 21 March 1952, p. 378. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Feries and Martin Tucker. New York: Gale, 1977, p. 373. These two novellas each seem to have borrowed something of style or idiosyncrasy from Henry James and Somerset Maugham. Although acute and tough-minded with a robust sense of comedy, Wilson is as yet deficient of a sixth sense or self-criticism. "Tuesday and Wednesday" is a mistake in which Wilson's quasi-Jamesian deliberation sits grotesquely upon a trivial and humourless theme. "Lilly's Story," although nearly ruined by the farcical note at the close, is an excellent story that is uncommonly shrewd and amusing.
D41 Parrish, Philip. "New Novels." The Tribune [London, Eng.], 21 March 1952, p. 14. Two accomplished tales about deceit that are subtly etched and show signs of a stimulating, untrammeled talent. "Lilly's Story" is rather more mechanical than the other.
D42 O'Faolain, Sean. "New Novels." The Listener, 27 March 1952, p. 525. Rpt. ("High Praise for Ethel Wilson") in The Vancouver News-Herald, 3 May 1952, p. 7. This rare book is "an example of how English ought to be written, and of an original and unspoiled mind." Wilson is "one of the most charming and accomplished writers of fiction in English now living." In "Lilly's Story" every incident is touching or amusing and the style is completely original, yet entirely traditional.
D43 "The Outside World." The Times Literary Supplement, 28 March 1952, p. 217. Although "Tuesday and Wednesday" is told with easy realism which suits its subject, at times it seems a little too "slick." In "Lilly's Story," Wilson strikes exactly the right note which is conveyed with economy, dryness, and an underlying sense of ultimate values. Wilson combines an "American technique" with a "specifically Canadian moral approach."
D44 "'Equation of Love' Posed in Vancouver." Toronto Daily Star, 29 March 1952, p. 7. "Tuesday and Wednesday" is rather arty, but "Lilly's Story" is more convincing with the indomitable Lilly's touching humble heroism.
D45 Campbell, Marjorie Wilkins. "Fragrance and Flavor." Saturday Night, 5 April 1952, p. 28. Like Wilson's earlier books, these two short novels are an extension of the author's delightful personality. Wilson blends with casual delight the sharp, the sweet, and the bitter into a bouquet that lingers. Although occasionally irritated by the presence of the author, most of the time the reader is charmed.
D46 Hughes, Isabelle. "Why Two Women Lied." The Globe and Mail, 5 Aprd 1952, p. 10. Told with considerable technical and artistic skill, both these novellas are concerned with life based on pretense, are admirably realistic in their presentation of lower social classes, and have vividly depicted physical settings. "Lilly's Story" is "a story of genuine, down-to-earth, unsentimental appeal, with delightful overtones of humour and acute perceptiveness."
D47 "Reviews in Brief." Liverpool Daily Post, 8 April 1952, p. 3. "Only conscience towards all humanity could force the reviewer to care two hoots about either of them."
D48 "A Canadian Writer." Belfast News-Letter, 14 April 1952, p. 3. The near-masterpiece of character drawing with a sly vein of humour in "Tuesday and Wednesday" and the equally successful "stronger stuff" in "Lilly's Story" are an "especial pleasure."
D49 "City Woman Scores with Third Novel." Vancouver News-Herald, 18 April 1952, p. 3. Wilson gives her readers credit for some imagination and stops well in advance of boredom. The setting is true to life in any Canadian city, the theme touches on topics pertinent to our western seaport, and she draws the variety of characters with sensitivity and creates situations displaying the same restraint in manner as popular English craftsmen.
D50 Rev. of The Equations of Love: Tuesday and Wednesday [and] Lilly's Story. Queen, 23 April 1952, n. pag. Lilly is the climax of Wilson's creation. Without resorting to tricks or "muck-reporting" or to blurred, indecisive, or slickly portrayed characters, Wilson presents us with living, breathing, vitally individual human beings.
D51 "Vancouver Author Wins London Praise." Vancouver News-Herald, 24 April 1952, p. 7. The review contains an extensive quotation from a review in The Observer [London] which says that "Lilly's Story" is good, but "Tuesday and Wednesday," told with a smoothly critical and yet unjudging delight in humanity, is excellent. Wilson makes effective use of the "American trick of reproducing language phonetically."
D52 Duff, Don. Rev. of The Equations of Love: Tuesday and Wednesday [and] Lllly's Story. B.C. Magazine [Vancouver Provmce], 17 May 1952, p. 20. "Tuesday and Wednesday," an "experiment in impressionism," is not comparable to "Lilly's Story." Though not entirely lacking in interest, "Tuesday and Wednesday" is loose and rather pointless, while "Lilly's Story" is a well-plotted story, and carefully and beautifully told.
D53 Gordon, Wilhelmina. "Among the New Books." Echoes: The Official Publication of the Imperial Order of the Daughters of the Empire, 207 (Summer 1952), 32. This book shows a great advance in interest and skill over Wilson's earlier work. The first vividly presented story is hardly more than a sketch; the second story has little humour, but "the underlying idea is carefully worked out."
D54 C., M. E. "The Bookshelf." The Vancouver Sun, 12 July 1952, p. 17. Wilson advances from a promising to an established novelist in these two indigenous and sophisticated novellas written with unsentimental perception in lucid, lovely prose. Wilson is at her best in "Lilly's Story."
D55 K[irkwood]., H[ilda]. T. Rev. of The Equations of Love: Tuesday and Wednesday [and] Lilly's Story. The Canadian Forum, Aug. 1952, p. 117. "Lilly's Story" has more unity because it focuses on one fully and beautifully developed character. "Tuesday and Wednesday" looks through Wilson's eyes with compassionate amusement at weaknesses, "never judging, never sentimental, but with a warm acceptance which we share."
D56 Bissell, Claude T. "Letters in Canada: 1952. Fiction." University of Toronto Quarterly, 22 (April 1953), 288-90, 292. Wilson changes her subject matter from the relatively sophisticated middle-class life in her previous works to the loneliness and despair of lower-class life, but does not sacrifice her grace, wit, or fluency. Her adroit handling of point of view preserves a nice balance between sympathetic identification and ironic objectivity. She takes her Canadian material for granted and there is nothing self-conscious or assertive about her use of the local scene.
D57 Turnbull, Gael. Northern Review, 6, No. 2 (June-July 1953), 36-40. Turnbull analyzes both stories at length. Pointing out that we rarely laugh, Turnbull notes that Wilson offers us the opportunity in "Tuesday and Wednesday." In "Lilly's Story," Turnbull takes special notice of Vicky Tritt and finds an intensity of feeling in that chapter not found elsewhere in the book.
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Source: McComb, Bonnie Martyn (compiler); . Part 2: Works On Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 430-477 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP2.
Item Number: ABCMA05EWP2000005005004003
Record: 300- Title:
- Part 2 Works on Ethel Wilson; Selected book reviews; The Innocent Traveller
- Other Title:
- Part 2 Works on Ethel Wilson; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 5
- Author(s):
- McComb, Bonnie Martyn (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WILSON, Ethel; WILSON, Ethel -- Criticism & interpretation -- Bibliography
Titles critiqued: INNOCENT traveller (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- McComb, Bonnie Martyn (compiler) Part 2: Works On Ethel Wilson.
Publisher Information: Toronto, Ontario : ECW Press, 1984. (pp. 430-477)
ISBN: 920802680 (hardcover)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5
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Source: Part 2: Works On Ethel Wilson. McComb, Bonnie Martyn (compiler); Toronto, Ontario : ECW Press, 1984, pp. 430-477
Part 2 Works on Ethel Wilson; Selected book reviews; The Innocent Traveller
McComb, Bonnie Martyn (compiler)
D25 Gordon, Wilhelmina. "Among the New Books." Echoes. The Official Publication of the Imperial Order of the Daughters of the Empire, 197 (Winter 1949), 40. Although some of the characters are drawn with sympathy and various scenes will attract many readers, Gordon thinks Wilson possibly had her tongue in her cheek or satirized the family life experienced by an "almost incredibly stupid" Topaz who is happily "engrossed in trivial concerns."
D26 "'Innocent Traveller' Is Latest from Author of 'Hetty Dorval.'" Toronto Daily Star, 27 Aug. 1949, p. 18. The profusion of relatives is at times overwhelming, but it all adds to the variety and each one is "drawn with acid illumination and in a prose so just and right that one may open the book at almost any page and read with appreciation and reward."
D27 Rev. of The Innocent Traveller. The Times Literary Supplement, 2 Sept. 1949, p. 575. The descriptive writing is an agreeable feature and Topaz emerges as a definite personality, but few of the minor characters come to life. Topaz is "meant to appear as a charming scatterbrain, but although she scatters her brain liberally over the 277 pages, the charm is not always apparent, and it is possible to sympathize with her often irritated relations."
D28 M., D."Books and Authors." B.C Magazine [The Vancouver Province], 10 Sept. 1949, p. 6. A series of character studies and descriptions introduces the reader to Topaz and "it's an engrossing pastime to follow her hectic career" as she "pursues her immaterial, but to her engrossing affairs."
D29 Lane, G. "Spinster Portrait." The Sunday Sun Magazine [The Vancouver Sun], 17 Sept. 1949, p. 4. The author of this gay and whimsical book with its leisurely tempo has acquired a polish and lustre just glimpsed in her first effort. Topaz is a spinster who "never acts like the crusty female so often depicted" and who goes out to meet life more than half way."
D30 "Immortal Topaz." Saturday Night, 11 Oct. 1949, p. 46. The singing quality in Wilson's work and her aptness of phrase and success in realism make the words she writes a "delight to read and reread."
D31 Chapin, Ruth. "Spinster on Wheels." The Christian Science Monitor [Atlantic Edition], 21 Oct. 1949, p. 24. Though Topaz, a labour of love and a delight, was never profound, neither was she ever dull. One suspects that Ethel Wilson may be disguised in the story as the orphan great-niece Rose.
D32 G., W. E. "Books in Brief." The Christian Century, 9 Nov. 1949, p. 1328. The innocent traveller is a virginal centenarian, the story "true to human nature, as exhibted in a pleasing cast of characters, and it is all delightful."
D33 V.,J. "The New Books." San Francisco Chronicle, 13 Nov. 1949, p. 27. Although Wilson "tells her story with flashes of wit and whimsy that this age of direct, purposeful prose is inclined to frown upon, it is certain to please readers who still enjoy the adornment of chuckle-producing phrases to their reading."
D34 Cohen, Mark G. Rev. of The Innocent Traveller. The Canadian Forum, Dec. 1949, p. 214. Topaz lived a placid life "that is almost as tiresome to the reader as it must have been to her." Topaz is a "great bore."
D35 Brown, Catherine Meredith. "Fiction Notes." Saturday Review, 10 Dec. 1949, p. 17. Rpt. (excerpt) in Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. New York: Frederick Ungar, 1977, p. 372. Topaz is a grand dame who makes marvelous material. Based on fact and padded with fiction, the novel is "gentle, engaging, quietly wise, and nostalgic without being dated."
D36 "A Centenarian." Canadian Author & Bookman, 25 (Christmas 1949), 25-26. This book "must be the most enticing tale of an old maid in all literature." The vignettes are good, but the peculiarity of this all but plotless novel is the sudden shift to Vancouver, where Topaz finds the perfect environment in which she can be eccentric. The contrast between the early stilted English life and the zest of the old girl's happy years by the Pacific gives a lift to the whole second portion of the book.
D37 Becker, Mary Lamberton. "She Lived a Round Century." New York Herald Tribune Book Review, 15 Jan. 1950, p. 6. In this "light-hearted but by no means light-weight novel," the story, as well as Topaz, stays intensely alive. Like a sonnet that can say more in fourteen lines than can a page of free verse, the limited and restricted Edgeworths are individuals to a point that makes them mighty good reading-matter and Topaz makes the best reading of them all.
D38 Bissell, Claude T. "Letters in Canada: 1949. Fiction." University of Toronto Quarterly, 19 (April 1950), 274-75. Wilson's chapters frequently stand by themselves as amusing sketches, but both Topaz and the point of view provide the "unifying principle of the novel." It is a sign of strength that Wilson has maintained delicately and consistently a single point of view. Within these limitations, Wilson finds "a place for humour, for gentle satire, and for a good deal of sense and sensibility."
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Source: McComb, Bonnie Martyn (compiler); . Part 2: Works On Ethel Wilson, Toronto, Ontario : ECW Press, 1984. pp. 430-477 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 5 ISBN: 920802680 (hardcover), Book ID: ABCMA05EWP2.
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Record: 301- Title:
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- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
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Source: Part 1: Works By John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 68-95
Part 1 Works By John Newlove; Books; Audio-visual material
Lecker, Robert (compiler)
A24 John Newlove. Narr. John Newlove. [Toronto]: High Barnet, 1973. (Cassette; 60 min.)
Includes "Among So Many Memories," "The Apparition," "Black Night Window," "By the Grey Atlantic," "Cities Die," "Disease," "Dream: [Bees won't fly when it's this cold;...]," "Dream: [The luxurious trembling sea, winding atmosphere of thick death and life, egg-filled, swarming and empty,...]," "Elephants," "The Engine and the Sea," "The Fat Man," "The First Step toward Ruin," "The Flowers," "For Judith, Now About Ten Years Old," "The Funny Grey Man," "God Bless You," "Gross Masks," "The Hitch-Hiker," "I Can't Help It," "If I Cease Desiring," "If There Is Any Sorrow," "It Is Not Over Yet," "It Is Our Duty," "My Daddy Drowned," "No Furniture for a Room," "No Song," "On Her Bed of Night," "Ride Off Any Horizon," "She," "They Stood Upright," "Through Fear of Novelty," "To Have Been Little," "Verigin, Moving In Alone," "The Well-Travelled Roadway," "The Wind," and "You Don't Need to Live."
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
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- Lecker, Robert (compiler)
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- Bibliography
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- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Source: Part 1: Works By John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 68-95
Part 1 Works By John Newlove; Books; Books edited
Lecker, Robert (compiler)
A14 Dream Craters. By Joe Rosenblatt. Erin, Ont.: Porcepic, 1974. 74 pp.
A15 The Collected Poems of Earle Birney. By Earle Birney. 2 vols. Toronto: McClelland and Stewart, 1975, 379 pp.
A16 [underbar]preface. Canadian Poetry: The Modern Era. Toronto: McClelland and Stewart, 1977. 1, 269 pp.
A17 The Collected Poems of F. R. Scott. Toronto: McClelland and Stewart, 1981. 379 pp.
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
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Record: 303- Title:
- Part 1 Works By John Newlove; Books; Broadsides
- Other Title:
- Part 1: Works By John Newlove; Books
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP1
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A18 O'Reilly. Orono, Me.: Lagar/Wine, 1965. 1 leaf. Includes "O'Reilly" (B35).
A19 It #12: John Newlove [It (Platteville, Wisc.), No. 12 (July 1967)]. [4] pp.
Includes "Burn," "Ken Graham, Circa 1961," "One Day," and "What Do You Want?" (B111).
A20 3 Poems. [Vancouver: Western, 1968. 1 leaf.]
Includes "Crazy Riel" (A6), "The Drinker" (A6), and "Solitaire" (B91).
A21 Saskatchewan. Wood Mountain, Sask.: Three Legged Coyote, 1981. [1 leaf.]
Includes "Saskatchewan."
A22 The Weather. Lantzville, B.C.: Island, Nov. 1981. [1 leaf.]
Includes "The Weather" (B218).
A23 In Libya. National Book Festival 1982. Toronto: Dreadnaught, 1981. 1 leaf.
Includes "In Libya" (B27).
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
Item Number: ABCMA06JNP1000006002001004
Record: 304- Title:
- Part 1 Works By John Newlove; Books; Editorial work
- Other Title:
- Part 1: Works By John Newlove; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP1
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Source: Part 1: Works By John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 68-95
Part 1 Works By John Newlove; Books; Editorial work
Lecker, Robert (compiler)
A25 Senior Editor. McClelland and Stewart, Aug. 1970-Aug. 1974.
A26 Editor. Writing [David Thompson Univ. Centre], No. 6 (Spring 1983).
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
Item Number: ABCMA06JNP1000006002001006
Record: 305- Title:
- Part 1 Works By John Newlove; Books; Manuscripts
- Other Title:
- Part 1: Works By John Newlove; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP1
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Source: Part 1: Works By John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 68-95
Part 1 Works By John Newlove; Books; Manuscripts
Lecker, Robert (compiler)
A27 The John Newlove Papers
Thomas Fisher Rare Book Library
University of Toronto
Toronto, Ontario
Newlove's papers are contained in Manuscript Collection 57. The material is housed in boxes and an outline of their contents follows.
Box 1:
Journals and notes 1962-63; early essays and short stories; notes on B.C. Indians; poems and drafts, 1964-65; book reviews, 1964-65; newspaper clippings about and by Newlove; clippings and a poster about a poetry reading given by Newlove at the University of Arizona, 17 March 1965.
Box 2:
Poems 1964-65, including drafts and proofs with notes and corrections.
Box 3:
Poems from and galley proofs of Moving In Alone, including drafts and comments; poems from the galley proofs of Elephants, Mothers & Others; poems from Grave Sirs.
Box 4:
Canadian and American journals in which Newlove's poetry has appeared; magazines with reviews of his books.
Box 5:
Poems: rejected from Black Night Window, uncatalogued, drafts, c. 1966-68; early short stories; notebook; journals from 9 October 1962 to 8 April 1963 and from 15 May 1967 to 18 December 1967; articles by Newlove on metre in English verse and "The Uses of Poetry" as well as a review of Margaret Atwood's The Circle Game aired on CBC Radio; "The Almost-King," an unpublished oneact play; and cutouts from Newlove's libretto Lynn Valley.
Box 6:
Notes for course given at Deep Springs College, Deep Springs, Cal., Summer 1967; miscellaneous notes; outlines for poetry readings; miscellaneous bills and receipts; photographs of Newlove and friends; record of poems submitted to magazines; contracts with CBC Radio; a tape of all poems in sequence from Moving In Alone, 28 June 1967.
Box 7:
Ms. and proofs of Black Night Window with Newlove's opinions of the poems; a transcript of What They Say and sample covers by Claude Breeze.
Box 8:
Books by Newlove, and anthologies and periodicals in which his work can be found.
A28 The John Newlove Papers
Humanities Research Center
University of Texas
Austin, Texas
This holding includes page proofs, etc., for Newlove's contributions to el corno emplumado / the plumed horn [Mexico City], No. 13 (Jan./ enero 1965), No. 17 (Jan. / enero 1966), and No. 19 (July / julio 1966), and 11 letters from Newlove to el corno emplumado / the plumed horn [Mexico City] (1964-65).
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
Item Number: ABCMA06JNP1000006002001007
Record: 306- Title:
- Part 1 Works By John Newlove; Books; Poetry
- Other Title:
- Part 1: Works By John Newlove; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP1
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Source: Part 1: Works By John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 68-95
Part 1 Works By John Newlove; Books; Poetry
Lecker, Robert (compiler)
[underbar]
A1 Grave Sirs. Vancouver: Robert Reid & Takao Tanabe, 1962. [34] pp.
Includes "Already Lies," "Birds, Dear," "Daydreams: 1. Manual Labor," "The Don Flows Home," "from An Old Story," "from Jason in Libya," "Grave Sirs:", "I Bend Hell," "Mao Tse-Tung, The Swimmer, The River," "Poem for a Friend," "Rhetorical Question," "Speech to the Rump Parliament," "Speechsong & Natural History," "That Old Bastard Orpheus," and "That's All, Miss Jones."
A2 Elephants, Mothers & Others. Vancouver: Periwinkle, 1963. [31] pp.
Includes "After Supper," "The Arrival," "Arrogant, Unkind," "Before the Big Bend Highway" (B5), "Elephants," "The End Justifies the Means," "The First Letter," "For My Friends, Obscurely," "Funeral," "Half in Love," "J. S. Bach," "My Daddy Drowned," "No Furniture for a Room," "Not Moving" (B10), "On Her Long Bed of Night" (B3), "The Photograph My Mother Keeps," "Saying Nothing," "Sister Collins," "Smelling Your Blood," "To My Mother," "Unfruitful Cherries Bloom," "Verigin," "Verigin III," "White Cat III," "White Cat IV," and "White Cat V."
A3 Moving In Alone. Toronto: Contact, 1965. 83 pp.
[underbar]Lantzville, B.C.: Oolichan, 1977. 88 pp.
Includes "All My Friends," "At This Time," "Before the Big Bend Highway" (B5), "By the Church Wall," "A Circus Went Berserk Here," "The Demolition," "East from the Mountains" (B180), "Eight Dollars Will Do It," "The First Time," "The Flowers (for my brother)," "For Judith, Now About 10 Years Old," "Four Small Scars," "Good Company, Fine Houses," "The Grass Is a Reasonable Color," "I Could See," "I Talk to You," "If You Can," "In Libya" (B27), "In the Forest" (B9), "It Is Dark" (B181), "It Is Not Over Yet," "Kamsack [Plump eastern saskatchewan river town,...]," "A Letter to Larry Sealey, 1962," "Love Letter," "Lynn Valley: Depression (for Fred & Evelyn Douglas)" (B305), "No Use Saying to Whom," "Nothing Is to Be Said," "Peyote," "Resources, Certain Earths," "Rogers Pass," "Seeing Me Dazed," "She Reaches Out," "The Singing Head," "Stay in This Room," "Smelling Your Blood" (A2), "Succubi," "That's the Way Everything Is" (B182), "Then, if I Cease Desiring," "This Business" (B49), "This Is the Song" (B184), "Three Days Is Too Long," "Too Many Miles" (B15), "Two Letters from Austria" (B21), "Vancouver," "Vancouver Spring: Dawn," "Verigin, Moving In Alone," "The Weapons Lesson" (B8), "The Well-Travelled Roadway" (B11), "What Men Live By," "When I Need You," "When We Walked," "Where Are You," "With Whom Should I Associate," "The Women," "You Can See," and "You Know."
A4 Notebook Pages. Toronto: Charles Pachter, 1966. [18 leaves.]
Includes "[ -- every morning when we woke up, the first thing M would say to me was: Jesus you're ugly. I could never believe it, though...]," "[I hope I don't...]," "[I smell something invented by a man of bad taste: scented soap. As for my own smell,...]," "[If you decide not to love me anymore...]," "[(in my veins...)]," "[a man in misery...]," "[my tongue...]," and "[when you love a woman, you cease to see her;...]."
A5 What They Say. Kitchener, Ont.: Weed/flower, 1967. 23 pp.
This book was reprinted in 1968 with an errata sheet.
Includes "By Main Weight," "The Centre," "Five Times," "For and from Charles Williams" (B54), "The Garbage," "It Is in Changing" (B66), "It's Summer in British" (B4), "Not for Gold" (B1), "The Pale Bus" (B40), "The Silence" (B79), "Sources of Information" (B75), "The Sun: ['The sun is the breadth...']" (B69), "Three Dreams: Grotesques" (B41), "What They Say" (B37), and "The Witch" (B2).
A6 Black Night Window. Toronto: McClelland and Stewart, 1968. 112 pp.
Includes "The Admiral Hotel," "The Arrival" (A2), "The Big Bend: By-Passed Highway" (B59), "Black Night Window" (B65), "Book II:65" (B12), "The Boyish Voices" (B50), "Brass Box. Spring. Time." (B62), "Canada" (B82), "Certain Lines to a Young Lady Poet," "The Common Root" (B106), "The Crab-Apples" (B24), "Crazy Riel," "Dear Al:", "The Double-Headed Snake," "The Drinker," "The End Justifies the Means" (A2), "Everyone" (B89), "A Film of Lhasa" (B57), "A Film of Tibet" (B16), "Fragment," "Here," "The Hitchhiker" (B98), "Hitchhiking" (B14), "In This Reed," "Indian Women" (B63), "It Just Lay There" (B34), "It Was All There," "Just About Forty Degrees Off Course," "Kamsack: 1. The Dam" (B38), "Kamsack: 2. The Memories" (B107), "Kamsack: 3. The Dog" (B39), "Lacking Any Plan," "Lady, Lady" (B47), "Letter Two" (B60), "Like a Canadian" (B84), "Like Counting Sheep" (B77), "The Mirror: [In the night of toothpaste and Indian songs,...]" (B85), "No Song" (B17), "North America" (B86), "The Old Man" (B18), "The Original Peg-Leg," "Palazzo Vecchio, Notturno," "The Pride" (B48), "Public Library," "Quiet Days" (B87), "Ride Off Any Horizon" (B58), "Samuel Hearne in Wintertime" (B61), "She Grows Older" (B28), "Show Me a Man," "The Shuia-jan Snake" (B51), "Solitaire" (B91), "The Squirrel Peanut-Butter Song" (B112), "The Sun: [So good to get drunk in the night...]," "Susan 1." (B30), "Susan 2." (B31), "Susan 3." (B32), "Susan 4." (B33), "That's What Misery Is" (B19), "The (one time for fred douglas)," "There Are No Innocent People in Vancouver (for Fred Douglas)" (B25), "Three Small Ones for Your Pregnancy" (B26), "To See Ourselves," "Two Fragments for Grandmother" (B13), "Verigin III" (A2), "War Is Both Father," "What Do You Want, What Do You Want?" (B111), "When I Heard of the Friend's Death," "Without Ceremony" (B113), "Yellow Bear" (B64), "You Cannot Step Twice" (B70), and "You Say."
A7 The Cave. Toronto: McClelland and Stewart, 1970. 85 pp.
Includes "Alcazar," "All About When I Went into the Room" (B118), "America," "Any Place I Look At," "The Apparition" (B72), "Atlantic" (B127), "Away, or Far," "Becoming," "Before Sleep" (B119), "Le Bourgeois," "Burn" (A19), "By the Grey Atlantic" (B131), "The Candle," "The Cave" (B95), "Counter Attraction: for Barney Childs, composer" (B123, B306), "Days from a Week: Monday -- Memory [B115], Wednesday -- Words [B117], Thursday -- Courage [B116], Friday -- Drinking Song [B114]," "Doukhobor" (B138), "Dream: [Green sea water washing over...]," "Dream: [The luxurious trembling sea, winding atmosphere of thick death and life, egg-filled, swarming and empty,...]," "The Dream Man," "Early in May" (B97), "El Paso," "End of May" (B124), "The Engine and the Sea" (B105), "Exile," "The Fat Man" (B130), "The Flower" (B128), "A Former Dream" (B108), "The Funny Grey Man" (B121), "God Bless You" (B109), "How the Weather Is" (B90), "Hunkered Up," "K. G., Circa 1961," "Kissing" (B145), "The Last Event" (B227), "The Man: [When his mouth of evil opened, it made the air taste...]" (B125), "Mirror: [Who's been decorating the mirror?...]," "Never Mind," "The Ocean," "Old Song," "One Day" (A19), "Otter's Creek" (B101), "Please" (B143), "Portuguese Cove" (B129), "The Prairie," "Remembering Christopher Smart" (B126), "Revenge" (B102), "Seattle: Mountains" (B103), "Seattle: Politics" (B104), "Song of the Man Who Just Came in to Say That He Wouldn't Be Getting a Telegram for Money: for Al Purdy," "Strand by Strand" (B156), "A Subscription to Time," "Take These Three Months" (B132), "These Are Yours," "The Thin One" (B183), "Warm Wind" (B122), "Western" (B110), "The Wind" (B120), "The Words," "You" (B133), "You Told Me," and "A Young Man."
A8 7 Disasters, 3 Theses, and Welcome Home. Click. [Vancouver]: Very Stone House, 1971. 11 pp.
Includes "Disasters: 1," "Disasters: 2," "Disasters: 3," "Disasters: 4," "Disasters: 5," "Disasters: 6," "Disasters: 7," and "Theses 1" (B185), "Theses 2" (B186), "Theses 3" (B187), and "Welcome Home. Click."
A9 Lies. Toronto: McClelland and Stewart, 1972. 96 pp.
Includes "All I Know Is" (B197), "And the Dead Rose up from the Water" (B188), "A Beautiful Monster," "Blue Cow Phrases," "Broken Tortoises," "Cat" (B172), "Company" (B158), "Complaint" (B164), "Crow Walking," "A Dark Ukrainian Girl" (B165), "Dream: [Bees won't fly when it's this cold; . . .]" (B136), "Dream: [Eventually there are only so many incidents....]" (B159), "Dream: [She was pregnant, afraid. Toads ...]" (B135), "Dream: [The lone figure leans in the snow....]" (B137), "Every Muddy Road" (B139), "Everywhere I Go," "The First Bird of Spring" (B230), "The Flock Tougher than its Shepherds" (B193), "Gross Masks" (B160), "Harry, 1967" (B226), "The Hero around Me" (B190), "I Can't Help It--" (B141), "I Do Remember You" (B166), "I Don't Like Your Food" (B154), "If You Would Walk," "In the Crammed World" (B161), "Inside the Boxy House," "It Is a City" (B194), "Last Summer a Number of Our People Died Just for a Want of Something to Live On" (B149), "Like a River," "A Long Continual Argument with Myself" (B195), "Man Drift," "The Mountain: for Mouse Lash" (B199), "My Dreams" (B150), "No Pleasure" (B146), "Notes from and among the Wars," "Of My Own Flesh" (B189), "Of Time" (B142), "Or Alternately" (B228), "Party" (B191), "Pleasure," "The Pool" (B175), "Quotations: Among so many memories" (B177), "Quotalions: Cities die," "Quotations: Disease," "Quotations: The first step toward ruin" (B179), "Quotations: It is our duty" (B174), "Quotations: They stood upright," "Quotations: Through fear of novelty" (B176), "Quotations: To have been little," "Quotations: You don't need to live," "She" (B157), "Six Disasters" (A8--"7 Disasters"), "The Sky" (B140), "Slow Spring" (B151), "The Stone for His Grave" (B163), "That There Is No Relaxation" (B196), "3 Rumanian Poets: Dancing. Geo Dumitrescu" (B231), "3 Rumanian Poets: Eleventh Elegy. Nichita Stanescu" (B232), "3 Rumanian Poets: Ulysses. Ion Caraion" (B234), "3 Rumanian Poets: Until It Was Yellow. Geo Dumitrescu" (B235), "Through the Bare Trees," "Under the Civilized Skin the Savage Har Har," "A Wife" (B171), "White Lies" (B192), and "Why Do You Hate Me?" (B200).
A10 The Fat Man: Selected Poems 1962-1972. Toronto: McClelland and Stewart, 1977. 127 pp.
Includes "Alcazar" (A7), "America" (A7), "And the Dead Rose up from the Water" (B188), "The Apparition" (B72), "The Arrival" (A2), "Before Sleep" (B119), "Before the Big Bend Highway" (B5), "The Big Bend: By-Passed Highway" (B59), "Book II:65" (B12), "By the Church Wall" (A3), "By the Grey Atlantic" (B131), "The Cave" (B95), "Company" (B158), "Crazy Riel" (A6), "The Dog" (B39), "The Double-Headed Snake" (A6), "Doukhobor" (B138), "Dream: [Bees won't fly when it's this cold; . . .]" (B136), "Dream: [The lone figure leans in the snow....]" (B137), "Dream: [The luxurious trembling sea, winding atmosphere of thick death and life, egg-filled, swarming and empty,...]" (A7), "East from the Mountains" (B180), "Elephants" (A2), "The Engine and the Sea" (B105), "Everywhere I Go" (A9), "The Fat Man" (B130), "The Flower" (B128), "The Flowers" (A3), "For Judith, Now About Ten Years Old" (A3), "Four Small Scars" (A3), "God Bless You" (B109), "Harry, 1967" (B226), "The Hero Around Me" (B190), "The Hitchhiker" (B98), "In the Crammed World" (B161), "Indian Women" (B63), "It Was All There" (A6), "Lady, Lady" (B47), "My Daddy Drowned" (A2), "No Song" (B17), "Not Moving" (B10), "Of My Own Flesh" (B189), "Of Time" (B142), "The Pool" (B175), "The Prairie" (A7), "The Pride" (B48), "Public Library" (A6), "Quotations: Among so many memories" (B177), "Quotations: Cities die" (A9), "Quotations: Disease" (A9), "Quotations: The first step toward ruin" (B179), "Quotations: It is our duty" (B174), "Quotations: They stood upright" (A9), "Quotations: Through fear of novelty" (B176), "Quotations: To have been little" (A9), "Quotations: You don't need to live" (A9), "Remembering Christopher Smart" (B126), "Revenge" (B102), "Ride Off Any Horizon" (B58), "Samuel Hearne in Wintertime" (B61), "She" (B157), "The Singing Head" (A3), "The Sky" (B140), "Slow Spring" (B151), "Solitaire" (B91), "Then, If I Cease Desiring" (A3), "Two Letters from Austria" (B21), "Verigin" (A2), "Verigin, Moving in Alone" (A3), "The Well-Travelled Roadway" (B11), "What Do You Want?" (B111), "White Cat" (A2-- "White Cat V"), "White Lies" (B192), "Why Do You Hate Me?" (B200), "The Wind" (B120), and "With Whom Should I Associate?" (A3).
A11 [underbar]and John Metcalf. Dreams Surround Us. Delta, Ont.: Bastard, 1977. 86 pp.
Contains Metcalf's novella, Girl in Gingham, pp. 1-64, and Newlove's long poem, The Green Plain, pp. 65-86.
A12 The Green Plain. Preface John Newlove. Lantzville, B.C.: Oolichan, 1981. [3], [53] pp.
Includes a preface entitled "An Accidental Life" and the following poem fragments: "[always ignorant,...]" (A11), "[And the land around us green and happy,...]" (A11), "[And the world flows,...]" (A11), "[burning, burning, . . .]" (A11), "[But confusion. The world . . .]" (A11), "[But is there a symmetry?....]" (A11), "[Even the nomads roaming the green plain, for them . . .]" (A11), "[Fly-speck, fly-speck. In this ever island Earth . . .]" (A11), "[The forests, the forests, swaying, . . .]" (A11), "[How shall we save the symmetry of the universe? -- . . .] (A11), "[Is civilization . . .]" (A11), "[It is not time that flows but the world.]" (A11), "[The mechanisms by which the stars generate invention . . .]" (A11), "[Now a dream involves me, of a giant sprawled among stars,...]" (A11), "[of Spring! Of all things! The flowers . . .]" (A11), "[Only he is not breathing, he does not heave....]" (A11), "[Rain surrounds us, arguments and dreams, there are ...]" (A11), "[Small human figures and fanciful monsters . . .]" (A11), "[Spreading -- but now we can go anywhere...]" (A11), "[Stars, rain, forests. ...]" (A11), "[There are no surprises, there is only. ..]" (A11), and "[Which myths . . .]" (A11).
Since "[It is not time that flows but the world.]" is the complete poem fragment, the line is not followed by ellipsis.
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
Item Number: ABCMA06JNP1000006002001001
Record: 307- Title:
- Part 1 Works By John Newlove; Books; Translation
- Other Title:
- Part 1: Works By John Newlove; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP1
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Source: Part 1: Works By John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 68-95
Part 1 Works By John Newlove; Books; Translation
Lecker, Robert (compiler)
A13 [underbar]and Jeff Masson. Sage-King Janaka [pamphlet]. Toronto: Dept. of East Asian Studies, Univ. of Toronto, 1974.
A translation from the original Sanskrit anonymous poem from the second century A.D.
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
Item Number: ABCMA06JNP1000006002001002
Record: 308- Title:
- Part 1 Works By John Newlove; Contributions to periodicals and books; Audio-visual material
- Other Title:
- Part 1: Works By John Newlove; Contributions to periodicals and books;
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP1
p. 92-95 (4 p.) - Links:
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Source: Part 1: Works By John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 68-95
Part 1 Works By John Newlove; Contributions to periodicals and books; Audio-visual material
Lecker, Robert (compiler)
B307 "For Judith." Narr. John Newlove. In Canadian Poets 1. CBC, PR-4, 1966.
See MIA ("For Judith, Now About 10 Years Old") and FM ("For Judith, Now About Ten Years Old").
B308 "It Just Lay There." Narr. John Newlove. In Canadian Poets 1. CBC, PR-4, 1966.
See BNW and B34.
B309 "Kamsack: 3. The Dog." Narr. John Newlove. In Canadian Poets 1. CBC, PR-4, 1966.
See BNW, FM ("The Dog"), and B39 ["Kamsack (3) The Dog"].
B310 "The Pride." Narr. John Newlove. In Canadian Poets 1. CBC, PR-4, 1966. Rerecorded. Narr. Lister Sinclair. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. Host Harry Mannis. CBC Radio, 2 July 1968. Rebroadcast. Narr. Lister Sinclair. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. Host Harry Mannis. CBC Radio, 31 Jan. 1970. Rebroadcast. Narr. Lister Sinclair. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 18 April 1970.
See BNW ("The Pride"), FM, and B48.
B311 "How Much." Narr. Victor Coleman. Anthology. CBC Radio, 20 Oct. 1966.
The tape includes commentary by John Robert Colombo (C3).
B312 "When I Heard of the Friend's Death." Narr. Victor Coleman. Anthology. CBC Radio, 20 Oct. 1966.
The tape includes commentary by John Robert Colombo (C3). See BNW.
B313 "You Say." Narr. Victor Coleman. Anthology. CBC Radio, 20 Oct. 1966.
The tape includes commentary by John Robert Colombo (C3). See BNW.
B314 "The Fat Man." Narr. Hugh Webster. Anthology. Prod. Terrence Gibbs. CBC Radio, 13 Feb. 1968.
See Cave, FM, and B130.
B315 "By the Grey Atlantic." Narr. Nonnie Griffiths. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. Host Harry Mannis. CBC Radio, 2 July 1968.
See Cave, FM, and B131.
B316 "The Prairie." Narr. Nonnie Griffiths. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. Host Harry Mannis. CBC Radio, 2 July 1968.
See Cave and FM.
B317 "Warm Wind." Narr. Nonnie Griffiths. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. Host Harry Mannis. CBC Radio, 2 July 1968.
See Cave and B122.
B318 "Winter Day." Narr. Nonnie Griffiths. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. Host Harry Mannis. CBC Radio, 2 July 1968.
B319 "Alcazar." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
See Cave and FM.
B320 "All About When I Went into the Room." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
See Cave and B118.
B321 "Atlantic." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
See Cave and B127.
B322 "Le Bourgeois." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
See Cave.
B323 "Counter Attraction: for Barney Childs, composer." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
See Cave, B123 ("Counter Attraction"), and B306.
B324 "El Paso." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
See Cave.
B325 "The Flower." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
See Cave, FM, and B128.
B326 "The Ocean." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
See Cave.
B327 "Old Song." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
See Cave.
B328 "A Piece of Paper." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
B329 "Portuguese Cove." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
See Cave and B129.
B330 "To A Young Lady Poet." Narr. Peter Mews. Anthology. Supervising prod. Terrence Gibbs. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 1 March 1969.
See BNW ("Certain Lines to a Young Lady Poet").
B331 "From and among the Wars." In "Poems for Voices." Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. Host Harry Mannis. CBC Radio, 28 Feb. 1970. Rebroadcast. Narr. Peter Hayworth, Jerome Neuson, and Phyllis Webb. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. Host Harry Mannis. CBC Radio, 12 Sept. 1970.
See Lies ("Notes from and among the Wars").
B332 "Doukhobor." Narr. John Newlove. In "Canadian Poets Reading." Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 30 Oct. 1971.
See Cave, FM, and B138.
B333 "Like a River." Narr. John Newlove. This Is Robert Fulford. CBC Radio, 21 Oct. 1972.
The program also includes an interview (C82). See Lies.
B334 "The Pool." Narr. John Newlove. This Is Robert Fulford. CBC Radio, 21 Oct. 1972.
The program also includes an interview (C82). See also Lies, FM, and B175.
B335 "The Double-Headed Snake." Speaking of Books with Robert Fulford. Dir. Chuck Backhouse. Prod. Paul Marquandt. Toronto: Ontario Educational Communications Authority Program, 0155009, 1977. (Videotape; colour.)
The program also includes an interview (C83). See also BNW and FM.
B336 "Quotations: It is our duty." Speaking of Books with Robert Fulford. Dir. Chuck Backhouse. Prod. Paul Marquandt. Toronto: Ontario Educational Communications Authority Program, 0155009, 1977. (Videotape; colour.)
The program also includes an interview (C83). See also Lies, FM, and B174 ("It Is Our Duty").
B337 Contributor. The Eric Friesen Show. CBC Radio, 21 Sept. 1977.
Eric Friesen monitors a discussion between Rev. William Glenesk, Irving Layton, and John Newlove about Layton's book The Covenant.
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
Item Number: ABCMA06JNP1000006002002008
Record: 309- Title:
- Part 1 Works By John Newlove; Contributions to periodicals and books; Librettos
- Other Title:
- Part 1: Works By John Newlove; Contributions to periodicals and books;
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP1
p. 92 (1 p.) - Links:
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Source: Part 1: Works By John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 68-95
Part 1 Works By John Newlove; Contributions to periodicals and books; Librettos
Lecker, Robert (compiler)
B305 Lynn Valley. Music Barney Childs. Bowdoin College Senior Center, Brunswick, Me. 3 April 1968. Reproduced Deep Springs College, Deep Springs, Cal. 23 May 1968. MIA ["Lynn Valley: Depression (for Fred & Evelyn Douglas)"].
B306 "Counter Attraction." The Grosseteste Review [Lincoln, Eng.], l, No. 2 (Autumn 1968), 44-45. Cave (revised -- "Counter Attraction: for Barney Childs, composer").
Not set to music. See B123 ("Counter Attraction") and B323 ("Counter Attraction: for Barney Childs, composer").
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
Item Number: ABCMA06JNP1000006002002007
Record: 310- Title:
- Part 1 Works By John Newlove; Contributions to periodicals and books; Poems
- Other Title:
- Part 1: Works By John Newlove; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP1
p. 75-87 (13 p.) - Links:
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Source: Part 1: Works By John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 68-95
Part 1 Works By John Newlove; Contributions to periodicals and books; Poems
Lecker, Robert (compiler)
Note: When an item is reprinted in one of Newlove's books or broadsides, this fact is noted in the entry through one of the following abbreviations:
Black Night Window .....................BNW
The Cave ..............................Cave
Elephants, Mothers, & Others ...........EMO
The Fat Man: Selected Poems 1962-1972....FM
Grave Sirs ..............................GS
In Libya ................................IL
It #12: John Newlove (It [Platteville, Wisc.]),
No. 12 (July 1967) ......................It
Lies ..................................Lies
Moving In Alone ........................MIA
O'Reilly ...............................O'R
7 Disasters, 3 Theses,
and Welcome Home. Click .................7D
3 Poems .................................3P
The Weather .........................Weath.
What They Say ..........................WTS
B1 "Not for Gold." Prism, 3, No. 3 (Spring 1962), 31. WTS (revised).
B2 "The Witch Poetry." Prism, 3, No. 3 (Spring 1962), 43. WTS (revised -- "The Witch").
B3 "On Her Long Bed of Night." Mountain [Hamilton, Ont.], No. 2, (Aug. 1962), n. pag. EMO (revised).
B4 "It's Summer in British." TISH [Vancouver], Aug. 1962, p. 12. WTS (revised).
B5 "From Before the Big Bend Highway." Delta [Montreal], No. 19 (Oct. 1962), p. 36. EMO (revised--"Before the Big Bend Highway"); MIA; FM (revised).
B6 [underbar]and Mike Collins. "The Italic Delicacy." TISH [Vancouver], Nov. 1962, p. 6. Signed: Oscar Shard.
B7 "Vancouver-Spring-Dawn-List (2)." TISH [Vancouver], Nov. 1962, pp. 12-13.
B8 "Weapons Lesson." TISH [Vancouver], Nov. 1962, p. 13. MIA (revised--"The Weapons Lesson").
B9 "In the Forest." Poetry Northwest, 4, No. 2 (Summer 1963), 32-33. MIA (revised).
B10 "Not Moving." Poetry Northwest, 4, No. 2 (Summer 1963), 33-34. Rpt. trans. Jean-Bernard Blandenier ("Immobilite") in Lettres Nouvelles, [Numero special: "Ecrivains du Canada"], dec.-jan. 1966-67, pp. 48-49. Rpt. (revised) in Free to Be [Toronto], Jan. 1971, p. 37. EMO (revised--"Not Moving"); FM (revised). In the translated version, this poem is falsely credited to Al Purdy.
B11 "The Well-Travelled Roadway." Envoi [Cheltenham, Eng.], No. 23 (1964), p. 2. MIA; FM (revised).
B12 "Book II:65." Evidence [Toronto], No. 8 ([March] 1964), pp. 16-17. BNW (revised); FM (revised).
B13 "Fragments for Grandmere." Evidence [Toronto], No. 8 ([March] 1964), pp. 14-15. BNW (revised--"Two Fragments for Grandmother").
B14 "Hitch-Hiking." Evidence [Toronto], No. 8 ([March] 1964), p. 18. BNW (revised -- "Hitchhiking").
B15 "Too Many Miles." Evidence [Toronto], No. 8 ([March] 1964), p. 18. MIA (revised).
B16 "A Film of Tibet." The Tamarack Review, No. 31 (Spring 1964), p. 85. BNW (revised).
B17 "No Song." The Tamarack Review, No. 31 (Spring 1964), p. 81. Rpt. (revised) in Maclean's, April 1968, p. 61. BNW; FM (revised).
B18 "The Old Man." The Tamarack Review, No. 31 (Spring 1964), p. 86. BNW (revised).
B19 "That's What Misery Is." The Tamarack Review, No. 31 (Spring 1964), p. 84. BNW.
B20 "This Is a Very Real Place." The Tamarack Review, No. 31 (Spring 1964), p. 84.
B21 "Two Letters from Austria." The Tamarack Review, No. 31 (Spring 1964), p. 83. MIA; FM (revised).
B22 "A Young Man." The Tamarack Review, No. 31 (Spring 1964), p. 82.
B23 "White Cat: [That's my manhood . . .]." The Canadian Forum, May 1964, p. 43.
B24 "The Crab-Apples." A Supplement: Poems Accepted for Genesis West, Aug. 1964, p. 8. BNW (revised).
B25 "There Are No Innocent People in Vancouver (for Fred Douglas)." A Supplement: Poems Accepted for Genesis West, Aug. 1964, p. 9. BNW.
B26 "Three Spurious Poems for Your Pregnancy." A Supplement: Poems Accepted for Genesis West, Aug. 1964, p. 10. BNW (revised--"Three Small Ones for Your Pregnancy").
B27 "In Libya." Island [Toronto], No. 1 (Sept. 1964), p. 21. MIA; IL.
B28 "She Grows Older." The Canadian Forum, Dec. 1964, p. 198. BNW (revised).
B29 "Letter." Wild Dog [San Francisco], No. 18 (1965), p. 42.
B30 "4 For Susan: 1." el corno emplumado/the plumed horn [Mexico City], No. 13 (Jan. / enero 1965), p. 24. Rpt. ("Susan 1") in Maclean's, April 1968, p. 61. BNW (revised -- "Susan 1.").
The poem was not printed in the Ontario edition of Maclean's, but is available in the John Newlove Papers.
B31 "4 For Susan: 2." el corno emplumado/the plumed horn [Mexico City], No. 13 (Jan. / enero 1965), p. 24. BNW (revised--"Susan 2.").
B32 "4 For Susan: 3." el corno emplumado/the plumed horn [Mexico City], No. 13 (Jan. / enero 1965), p. 25. BNW (revised --"Susan 3.").
B33 "4 For Susan: 4." el corno emplumado/ the plumed horn [Mexico City], No. 13 (Jan. / enero 1965, p. 25. Rpt. ("Susan IV") in Maclean's, April 1968, p. 61. BNW (revised -- "Susan 4.").
The poem was not printed in the Ontario edition of Maclean's, but is available in the John Newlove Papers.
B34 "It Just Lay There." el corno emplumado/the plumed horn [Mexico City], No. 13 (Jan. / enero 1965), p. 26. BNW (revised). See B308.
B35 "O'Reilly." Pliego [Orono, Me.], No. 9 (Jan. 1965), n. pag. Rpt. (revised) in el corno emplumado/the plumed horn [Mexico City], No. 19 (July / julio 1966), pp. 45-46. O'R.
Pliego is a broadside journal and the entire issue is "O'Reilly."
B36 "Sans Facon." el corno emplumado / the plumed horn [Mexico City], No. 13 (Jan. / enero 1965), pp. 25-26.
B37 "What They Say." Imago [Calgary], No. 2 [1965?], pp. 20-21. WTS (revised).
B38 "Kamsack (1) The Dam." From a Window [Tucson, Ariz.], No. 1 (April 1965), n. pag. BNW ("Kamsack: 1. The Dam").
B39 "Kamsack (3) The Dog." From a Window [Tucson, Ariz.], No. 1 (April 1965), n. pag. Rpt. (revised--"The Dog") in Outposts, No. 66 (Autumn 1965), pp. 6-7. Rpt. ["(3) The Dog"] in Maclean's, April 1968, p. 61. BNW ("Kamsack: 3. The Dog"); FM ("The Dog").
See B309. The poem was not printed in the Ontario edition of Maclean's, but is available in the John Newlove Papers.
B40 "The Pale Bus." From a Window [Tucson, Ariz.], No. 1 (April 1965), n. pag. WTS (revised).
B41 "Three Dreams: Grotesques." From a Window [Tucson, Ariz.], No. 1 (April 1965), n. pag. WTS (revised).
B42 "Chingkang Mountain." From a Window [Tucson, Ariz.], No. 2 (June 1965), n. pag.
B43 "Huichang." From a Window [Tucson, Ariz.], No. 2 (June 1965), n. pag.
B44 "Loushan Pass." From a Window [Tucson, Ariz.], No. 2 (June 1965), n. pag.
B45 "New Year's Day." From a Window [Tucson, Ariz.], No. 2 (June 1965), n. pag.
B46 "To Liu Ya-Tse." From a Window [Tucson, Ariz.], No. 2 (June 1965), n. pag.
B47 "Lady, Lady." The Literary Review [Fairleigh Dickinson Univ., Teaneck, N.J.], [Canada Number], 8 (Summer 1965), 553. BNW (revised); FM.
B48 "The Pride." The Tamarack Review, No. 36 (Summer 1965), pp. 37-44. Rpt. (revised, excerpts) in ellipse, No. 10 (1972), pp. 86, 88, 90. Rpt. trans. Joseph Bonenfant (excerpts--"La fierte") in ellipse, No. 10 (1972), pp. 87, 89, 91. Rpt. (revised, expanded--"The Pride") in The Weekend Magazine [The Globe and Mail] [Toronto], 28 Dec. 1974, p. 14. BNW (revised--"The Pride"); FM (revised). See B310.
B49 "This Business." The Literary Review [Fairleigh Dickinson Univ., Teaneck, N.J.], [Canada Number], 8 (Summer 1965), 554. MIA.
B50 "The Boyish Voices." Poet [Madras, India], [Canadian Number], 6, No. 4 (July-Aug. 1965), p. 11. Rpt. (revised) in Talon, 3, No. 3 (Spring 1966), 23. BNW (revised).
B51 "The Shuia-Jan Snake." Tzarad [London, Eng.], No. 1 (Aug. 1965), p. 13. BNW (revised -- "The Shuia-jan Snake").
B52 "The Cricket." Potpourri [Orono, Me. ], 2, No. 1 (Autumn 1965), 11.
B53 "Baked Earth." Open Letter, Ser. 1, No. 1 [Nov. 1965], p. 14.
B54 "To/From Charles Williams." BlewOintment [Vancouver], 3, No. 1 (Nov. 1965), n. pag. WTS ("For and from Charles Williams").
B55 "The Candle." TISH [Vancouver], No. 32 (Dec. 1965), p. 12.
B56 "The Wind Flower." TISH [Vancouver], No. 32 (Dec. 1965), p. 11.
B57 "A Film of Lhasa." Prism International, 5, Nos. 3-4 (Winter-Spring 1965-66), 20. BNW (revised).
B58 "Ride Off Any Horizon." Prism International, 5, Nos. 3-4 (Winter-Spring 1965-66), 20-24. Rpt. in ellipse, No. 10 (1972), pp. 78, 80, 82, 84, 86. Rpt. trans. Monique Grandmangin ("Partez vers n'importe quel horizon") in ellipse, No. 10 (1972), pp. 79, 81, 83, 85, 87. BNW (revised -- "Ride Off Any Horizon"); FM (revised).
B59 "The Big Bend: By-Passed Highway." el corno emplumado / the plumed horn [Mexico City], No. 17 (Jan. /enero 1966), pp. 27-30. BNW; FM.
B60 "Letter Two." Imago [Calgary], No. 5 [1966], pp. 28-38. BNW (revised).
B61 "Samuel Hearne in Wintertime." IS., No. 1 ([Jan. 1966]), n. pag. Rpt. trans. ("samuel hearne en invierno") in Parva [Mexico City], No. 5 (May 1966), n. pag. BNW (revised--"Samuel Hearne in Wintertime"); FM (revised).
B62 "Brass Box. Spring. Time." Tlaloc [Leeds], No. 8 [Ser. 2, No. 2] (Feb. 1966), p. 4. BNW (revised).
B63 "Indian Women." TISH [Vancouver], No. 34 (Feb. 1966), p. 2. BNW; FM.
B64 "Yellow Bear." The Canadian Forum, Feb. 1966, p. 246. BNW.
B65 "Black Night Window." Quarry, 15, No. 3 (March 1966), [back cover]. BNW.
The version in Quarry is an advertisement illustrated by Bruce Head for Hudson's Bay Company.
B66 "It Is in Changing." Quarry, 15, No. 3 (March 1966), 35. WTS.
B67 "....of Sea, Half." Quarry, 15, No. 3 (March 1966), 34.
B68 "The Phases of Fire." Quarry, 15, No. 3 (March 1966), 34.
B69 "The Sun Is the Breadth." Quarry, 15, No. 3 (March 1966), 34. WTS (revised -- "The Sun: ['The sun is the breadth. . .']").
B70 "You Cannot Step Twice." Quarry, 15, No. 3 (March 1966), 35. Rpt. in Maclean's, April 1968, p. 61. BNW.
The poem was not printed in the Ontario edition of Maclean's, but is available in the John Newlove Papers.
B71 "Edmonton Harbour Lights Mission." Talon [Vancouver], 3, No. 3 (Spring 1966), 22. Rpt. (revised -- "Memories: Edmonton Harbour Lights Mission") in gnosis [Univ. of Waterloo], 3, No. 1 (March 1977), p. 2.
B72 "The Apparition." Potpourri [Milwaukie, Ore.], Nos. 7-8 [2, Nos. 3-4] (Summer 1966), 14. Rpt. in Poetry Australia [Sydney], No. 16 (June 1967), p. 23. Cave (revised); FM.
B73 "The Archeologist Reader." Talon, 3, No. 4 (Summer 1966), 26.
B74 "Now He Knows." Talon, 3, No. 4 (Summer 1966), 27.
B75 "Sources of Information." Talon, 3, No. 4 (Summer 1966), 28. WTS (revised).
B76 "Spin." Talon, 3, No. 4 (Summer 1966), 27.
B77 "Like Counting Sheep." elcorno emplumado/the plumed horn [Mexico City], No. 19 (July/julio 1966), p. 47. BNW (revised).
B78 "The Attempt." Weed [Kitchener, Ont.], No. 4 (July-Aug. 1966), p. 4.
B79 "The Silence." Weed [Kitchener, Ont.], No. 4 (July-Aug. 1966), pp. 2-3. WTS.
B80 "(1) Then (2) Then (3) Then." Quarry, 16, No. 1 (Oct. 1966), 37.
B81 "The Big Mirror." From a Window [Seattle, Wash.], No. 5 (Nov. 1966), n. pag.
B82 "Canada." From a Window [Seattle, Wash.], No. 5 (Nov. 1966), n. pag. BNW (revised).
B83 "The Colors." From a Window [Seattle, Wash.], No. 5 (Nov. 1966), n. pag.
B84 "Like a Canadian." From a Window [Seattle, Wash.], No. 5 (Nov. 1966), n. pag. BNW.
B85 "The Mirror: [In the night of toothpaste and Indian songs,...]." From a Window [Seattle, Wash.], No. 5 (Nov. 1966), n. pag. BNW (revised).
B86 "North America." Open Letter, Ser. 1, No. 5 (Nov. 1966), p. 5. BNW (revised).
B87 "Quiet Days." From a Window [Seattle, Wash.], No. 5 (Nov. 1966), n. pag. BNW (revised).
B88 "Saskatoon." From a Window [Seattle, Wash.], No. 5 (Nov. 1966), n. pag.
B89 "Everyone." Wivenhoe Park Review [Keele Univ., Eng.], No. 2 (1967), p. 28. BNW (revised).
B90 "How the Weather Is." Wivenhoe Park Review [Keele Univ., Eng.], No. 2 (1967), p. 29. Cave (revised).
B91 "Solitaire." Wivenhoe Park Review [Keele Univ., Eng.], No. 2 (1967), p. 30. BNW; FM (revised); 3P (revised).
B92 "Abai Kunanbaev." Talon, 4, No. 2 (Winter 1967), 23.
B93 "Dead Men." Weed [Kitchener, Ont.], No. 7 (Jan.-Feb. 1967), pp. 14-15.
B94 "The Woman." Potpourri [Milwaukie, Ore.], No. 9 (Spring 1967), n. pag.
B95 "The Cave." Maps, No. 2 (May 1967), pp. 28-29. Rpt. in ellipse, No. 10 (1972), p. 94. Rpt. trans. Joseph Bonenfant ("Le souterrain") in ellipse, No. 10 (1972), p. 95. Cave ("The Cave"); FM (revised).
B96 "The Beast." The Tamarack Review, No. 44 (Summer 1967), p. 54.
B97 "Early in May." The Tamarack Review, No. 44 (Summer 1967), p. 53. Cave (revised).
B98 "The Hitchhiker." Canadian Literature, No. 33 (Summer 1967), [back cover]. Rpt. in Maclean's, April 1968, p. 61. BNW; FM.
The version in Canadian Literature is an advertisement illustrated by Frank Mikuska for Hudson's Bay Company. The poem was not printed in the Ontario edition of Maclean's, but is available in the John Newlove Papers.
B99 "The Man: [In the pool, in the otter's cage...]." The Tamarack Review, No. 44 (Summer 1967), p. 55.
B100 "The Otter." The Tamarack Review, No. 44 (Summer 1967), p. 55.
B101 "Otter's Creek." The Tamarack Review, No. 44 (Summer 1967), p. 54. Cave.
B102 "Revenge." The Tamarack Review, No. 44 (Summer 1967), p. 52. Cave; FM.
B103 "Seattle: Mountains." The Tamarack Review, No. 44 (Summer 1967), p. 53. Cave.
B104 "Seattle: Politics." The Tamarack Review, No. 44 (Summer 1967), p. 53. Cave (revised).
B105 "The Engine and the Sea." The Malahat Review, No. 3 (July 1967), p. 108. Cave (revised); FM.
B106 "The Common Root." West Coast Review [Simon Fraser Univ.], l, No. 3 (Winter 1967), 43. BNW (revised).
B107 "Kamsack (2) The Memories." West Coast Review [Simon Fraser Univ.], 1, No. 3 Winter 1967), 42. BNW (revised -- "Kamsack: 2. The Memories").
B108 "A Former Dream." Dalhousie Review, 47 (Winter 1967-68), 474. Rpt. in boundary 2 [State Univ. of New York at Binghamton], [A Canadian Issue], 3, No. 1 (Fall 1974), p. 96. Cave (revised).
B109 "God Bless You." Dalhousie Review, 47 (Winter 1967-68), 491. Rpt. (revised) in Pan American Review [Edinburg, Tex.], 1, No. 1 (Winter 197071), 9. Cave; FM (revised).
B110 "Western." Horned Toad [Deep Springs College], 1 No. 1 (Spring 1968), 4. Cave.
B111 "What Do You Want?". Horned Toad [Deep Springs College], 1, No. 1 (Spring 1968), 3. BNW (revised--"What Do You Want, What Do You Want?"); FM ("What Do You Want?"); It (revised--"What Do You Want, What Do You Want?").
B112 "The Squirrel Peanut-Butter Song." Maclean's, April 1968, p. 60. BNW (revised).
The poem was not printed in the Ontario edition of Maclean's, but is available in the John Newlove Papers.
B113 "Without Ceremony." Maclean's, April 1968, p. 61. BNW.
The poem was not printed in the Ontario edition of Maclean's, but is available in the John Newlove Papers.
B114 "DAYS FROM A WEEK: FRIDAY -- Drinking Song." Hyphid [Toronto], No. 2 (July 1968), p. 19. Cave (revised--"Days from a Week: Friday--Drinking Song").
B115 "DAYS FROM A WEEK: MONDAY -- Memory." Hyphid [Toronto], No. 2, (July 1968), p. 18. Cave (revised--"Days from a Week: Monday--Memory").
B116 "DAYS FROM A WEEK: THURSDAY -- Courage." Hyphid [Toronto], No. 2 (July 1968), p. 19. Cave (revised--"Days from a Week: Thursday -- Courage").
B117 "DAYS FROM A WEEK: WEDNESDAY -- Words." Hyphid [Toronto], No. 2 (July 1968), p. 18. Cave ("Days from a Week: Wednesday--Words").
B118 "All About When I Went into the Room." Collection [Sussex, Eng.], No. 2 (Aug. 1968), p. 21. Cave (revised). See B320.
B119 "Before Sleep." Collection [Sussex, Eng.], No. 2 (Aug. 1968), p. 20. Rpt. (revised) in Prism International, 8, No. 2 (Autumn 1968), 38. Cave (revised); FM (revised).
B120 "The Wind." Collection [Sussex, Eng.], No. 2 (Aug. 1968), p. 21. Rpt. in Hyphid [Toronto], No. 3 (Sept. 1968), p. 18. Cave (revised); FM (revised).
B121 "The Funny Grey Man." New: American & Canadian Poetry, No. 7 (Sept. 1968), p. 37. Cave (revised).
B122 "Warm Wind." Hyphid [Toronto], No. 3 (Sept. 1968), p. 19. Rpt. in The Fiddlehead, No. 79 (March-April 1969), p. 66. Cave (revised). See B317.
B123 "Counter Attraction." Grosseteste Review [Lincoln, Eng.], 1, No. 2 (Autumn 1968), 44-45. Cave (revised -- "Counter Attraction: for Barney Childs, composer").
See C306 ("Counter Attraction") and B323 ("Counter Attraction: for Barney Childs, composer").
B124 "End of May." Prism International, 8, No. 2 (Autumn 1968), 39. Cave (revised).
B125 "The Man: [When his mouth of evil opened, it made the air taste . . .]." Prism International, 8, No. 2 (Autumn 1968), 39. Cave (revised).
B126 "Remembering Christopher Smart." Grosseteste Review [Lincoln, Eng.], 1, No. 2 (Autumn 1968), 43. Cave (revised); FM (revised).
B127 "Atlantic." Grosseteste Review [Lincoln, Eng.], 1, No. 3 (Winter 1968), 28. Cave. See B321.
B128 "The Flower." Grosseteste Review [Lincoln, Eng.], 1, No. 3 (Winter 1968), 28. Cave (revised); FM. See B325.
B129 "Portuguese Cove." Grosseteste Review [Lincoln, Eng.], 1, No. 3 (Winter 1968), 28. Cave (revised). See B329.
B130 "The Fat Man." The Tamarack Review, No. 49 (Winter 1969), pp. 42-47. Cave; FM (revised). See B314.
B131 "By the Grey Atlantic." The Fiddlehead, No. 79 (March-April 1969), p. 67. Cave; FM. See B315.
B132 "Take These Three Months." The Fiddlehead, No. 79 (March-April 1969), p. 67. Cave (revised).
B133 "You." The Fiddlehead, No. 79 (March-April 1969), p. 66. Cave.
B134 "Dream 1: [Those neatly combed corpses, . . .]." Grosseteste Review [Lincoln, Eng.], 2, No. 1 (Summer 1969), 9.
B135 "Dream 2: [She was pregnant, afraid. Toads...]." Grosseteste Review [Lincoln, Eng.], 2, No. 1 (Summer 1969), 9. Lies (revised--"Dream: [She was pregnant, afraid. Toads...]").
B136 "Dream 3: [Bees won't fly when it's this cold;...]." Grosseteste Review [Lincoln, Eng.], 2, No. 1 (Summer 1969), 10. Rpt. (revised--"Two Dreams: [Bees won't fly when it's this cold...]") in Asphodel Book Shop Catalogue [Cleveland, Oh.], No. 26 (Oct. 1970), n. pag. Lies (revised-"Dream: [Bees won't fly when it's this cold;...]"); FM.
B137 "Dream 4: [The lone figure leans in the snow. ...]." Grosseteste Review [Lincoln, Eng.], 2, No. 1 (Summer 1969), 10. Rpt. (revised--"Two Dreams: [The lone figure leans in the snow...]") in Asphodel Book Shop Catalogue [Cleveland, Oh.], No. 26 (Oct. 1970), n. pag. Lies ("Dream: [The lone figure leans in the snow....]"); FM.
B138 "Doukhobor." Edge [Edmonton/Montreal], No. 9 (Summer 1969), p. 115. Cave; FM (revised). See B332.
B139 "Every Muddy Road." Edge [Edmonton/Montreal], No. 9 (Summer 1969), p. 116. Rpt. in ellipse, No. 10 (1972), p. 98. Rpt. trans. Marc Lebel ("Chemins boueux") in ellipse, No. 10 (1972), p. 99. Lies (revised--"Every Muddy Road").
B140 "The Sky." Grosseteste Review [Lincoln, Eng.], 2, No. 1 (Summer 1969), 8. Rpt. in The New Orleans Review [Loyola Univ.], 2, No. 1 (1970), 46. Rpt. (revised) in Blackfish, No. 3 (Summer 1972), n. pag. Lies; FM.
B141 "I Can't Help It--". Seven [Toronto] (1970), n. pag. Lies.
B142 "Of Time." Maps, No. 3 (1970), pp. 41-42. Lies (revised); FM.
B143 "Please." The New Orleans Review [Loyola Univ.], 2, No. 1 (1970), 46. Cave.
B144 "Even Wisdom." Grosseteste Review [Lincoln, Eng.], 3, No. 1 (Spring 1970), 12. Rpt. in The Fiddlehead, No. 88 (Winter 1971), p. 30. Rpt. in Canadian Literature, No. 70 (Autumn 1976), p. 13.
B145 "Kissing." Grosseteste Review [Lincoln, Eng.], 3, No. 1 (Spring 1970), 14. Cave (revised).
B146 "No Pleasure." Grosseteste Review [Lincoln, Eng.], 3, No. 1 (Spring 1970), 13. Rpt. (revised) in Jewish Dial-og, Rosh Hashanah 1971, p. 45. Lies.
B147 "A Small Anthology of American Indian Poetry." Grosseteste Review [Lincoln, Eng.], 3, No. 1 (Spring 1970), 7-11.
B148 "Explanations." Prism International, 10, No. 2 (Autumn 1970), 80.
B149 "Last Summer a Number of Our People Died Just for Want of Something to Live On." Vigilante [Calgary], No. 2 (Fall 1970), p. 9. Rpt. (revised) in The Mysterious East [Fredericton], [Fall Book Supplement], [ed. Michael Taylor], Dec. 1970, p. 26. Lies (revised).
B150 "My Dreams." Prism International, 10, No. 2 (Autumn 1970), 80-81. Lies (revised).
B151 "Slow Spring." Prism International, 10, No. 2 (Autumn 1970), 81. Lies; FM.
B152 "Canada: A Speech." The Mysterious East [Fredericton], [Fall Book Supplement], [ed. Michael Taylor], Dec. 1970, p. 19.
B153 "Empires." The Mysterious East [Fredericton], [Fall Book Supplement], [ed. Michael Taylor], Dec. 1970, p. 22.
B154 "I Don't Like Your Food." The Mysterious East [Fredericton], [Fall Book Supplement], [ed. Michael Taylor], Dec. 1970, p. 36. Lies.
B155 "The Listener." The Mysterious East [Fredericton], [Fall Book Supplement], [ed. Michael Taylor], Dec. 1970, p. 19.
B156 "Strand By Strand." The Mysterious East [Fredericton], [Fall Book Supplement], [ed. Michael Taylor], Dec. 1970, p. 19. Rpt. in Pan American Review [Edinburg, Tex.], 1, No. 1 (Winter 1970-71), 8. Rpt. in Skylight, No. 1 (Spring 1971), n. pag. Cave (revised).
B157 "She." The Far Point, No. 5 (Winter 1970), p. 4. Lies; FM.
B158 "Company." The Tamarack Review, No. 56 (Jan. 1971), pp. 76-80. Lies (revised); FM (revised).
B159 "Dream: [Eventually there are only so many incidents....]." The Fiddlehead, No. 88 (Winter 1971), p. 32. Lies (revised).
B160 "Gross Masks." The Fiddlehead, No. 88 (Winter 1971), p. 34. Rpt. (revised) in ellipse, No. 10 (1972), p. 100. Rpt. trans. Marc Lebel ("Masques bideux") in ellipse, No. 10 (1972), p. 101. Lies (revised--"Gross Masks").
B161 "In the Crammed World." The Fiddlehead, No. 88 (Winter 1971), pp. 33-34. Lies (revised); FM (revised).
B162 "No Love from You, Love." The Fiddlehead, No. 88 (Winter 1971), p. 31.
B163 "The Stone for His Grave." The Fiddlehead, No. 88 (Winter 1971), p. 31. Lies (revised).
B164 "Complaint." Vigilante [Calgary], No. 3 (April 1971), p. 32. Lies (revised).
B165 "A Dark Ukranian Girl." Vigilante [Calgary], No. 3 (April 1971), p. 26. Lies.
B166 "I Do Remember You." Vigilante [Calgary], No. 3 (April 1971), p. 27. Lies (revised).
B167 "Like." Vigilante [Calgary], No. 3 (April 1971), p. 29.
B168 "Minor Wickedness." Vigilante [Calgary], No. 3 (April 1971), p. 30.
B169 "Move Slightly." Vigilante [Calgary], No. 3 (April 1971), p. 28.
B170 "Sounding." Vigilante [Calgary], No. 3 (April 1971), p. 32.
B171 "A Wife." Vigilante [Calgary], No. 3 (April 1971), p. 31. Lies (revised).
B172 "Cat." Jewish Di'al-og, Rosh Hashanah 1971, p. 45. Lies.
B173 "If There Is Any Sorrow." Jewish Di'al-og, Rosh Hashanah 1971, p. 45.
B174 "It Is Our Duty." Jewish Di'al-og, Rosh Hashanah 1971, p. 44. Rpt. (revised) in ellipse, No. 10 (1972), p. 96. Rpt. trans. Marc Lebel ("Notre devoir") in ellipse, No. 10 (1972), p. 97. Lies (revised--"Quotations: It is our duty"); FM. See B336.
B175 "The Pool." Imago [Montreal], No. 16 [Sept. 1971], pp. 36-38. Lies (revised); FM (revised). See B334.
B176 "Through Fear of Novelty." Jewish Di'al-og, Rosh Hashanah 1971, p. 44. Lies (revised--"Quotations: Through fear of novelty"); FM.
B177 "Among So Many Memories." Towncrier [Toronto], Sept.-Oct. 1971, p. 7. Rpt. (revised) in ellipse, No. 10 (1972), p. 93. Rpt. trans. Marc Lebel ("Parmi tant de souvenirs") in ellipse, No. 10 (1972), p. 93. Lies (revised--"Quotations: Among so many memories"); FM.
B178 "Aua." Towncrier [Toronto], Sept.-Oct. 1971, p. 7.
B179 "The First Step Toward Ruin." Towncrier [Toronto], Sept.-Oct. 1971, p. 7. Lies (revised -- "Quotations: The first step toward ruin"); FM.
B180 "East from the Mountains." ellipse, No. 10 (1972), pp. 74, 76. Rpt. trans. Marc Lebel ("A l'est des montagnes") in ellipse, No. 10 (1972), pp. 75, 77. Rpt. ("East from the Mountains") in boundary 2 [State Univ. of New York at Binghamton], [A Canadian Issue], 3, No. 1 (Fall 1974), pp. 96-97. MIA (revised); FM (revised).
B181 "It Is Dark." ellipse, No. 10 (1972), p. 72. Rpt. trans. Marc Lebel ("Il fait noir") in ellipse, No. 10 (1972), p. 73. MIA ("It Is Dark").
B182 "That's the Way Everything Is." ellipse, No. 10 (1972), p. 72. Rpt. trans. Marc Lebel ("Voila ou en est la vie") in ellipse, No. 10 (1972), p. 73. MIA ("That's the Way Everything Is").
B183 "The Thin One." ellipse, No. 10 (1972), p. 92. Rpt. trans. Joseph Bonenfant ("Le fluet") in ellipse, No. 10 (1972), p. 93. Cave (revised--"The Thin One").
B184 "This Is the Song." ellipse, No. 10 (1972), p. 70. Rpt. trans. Monique Grandmangin ("Toujours le meme refrain") in ellipse, No. 10 (1972), p. 71. MIA ("This Is the Song").
B185 "Theses I." BlewOintment [Vancouver], poverty isshew (March 1972), p. 93. 7D (revised--"Theses I").
B186 "Theses II." BlewOintment [Vancouver], poverty isshew (March 1972), p. 93. 7D (revised--"Theses 2").
B187 "Theses III." BlewOintment [Vancouver], poverty isshew (March 1972), p. 93. 7D ("Theses 3").
B188 "And the Dead Rose Up from the Water (for Joe Rosenblatt, if he wants it)." The Capilano Review, I, No. 1 (Spring 1972), 26. Lies (revised--"And the Dead Rose Up from the Water"); FM.
B189 "Of My Own Flesh." The Capilano Review, I, No. 1 (Spring 1972), 27. Rpt. (revised) in The Canadian Forum, Dec. 1972, p. 25. Lies; FM.
B190 "The Hero Around Me." Grosseteste Review [Lincoln, Eng.], 5, No. 2 (Summer 1972), 19. Rpt. in The Canadian Forum, Dec. 1972, p. 24. Lies ("The Hero around Me"); FM (revised--"The Hero Around Me").
B191 "Party." Blackfish, No. 3 (Summer 1972), n. pag. Lies (revised).
B192 "White Lies." Blackfish, No. 3 (Summer 1972), n. pag. Lies; FM.
B193 "The Flock Tougher Than Its Shepherds." Impulse, 2, No. 1 (Autumn 1972), p. 24. Lies ("The Flock Tougher than its Shepherds").
B194 "It Is a City." The Capilano Review, I, No. 2 (Fall 1972), p. 28. Lies.
B195 "A Long Continual Argument with Myself." Impulse, 2, No. 1 (Autumn 1972), p. 25. Lies (revised).
B196 "That There Is No Relaxation." Impulse, 2, No. 1 (Autumn 1972), p. 23. Lies (revised).
B197 "All I Know Is." The Canadian Forum, Dec. 1972, p. 24. Lies.
B198 "A Birch Tree." The Canadian Forum, Dec. 1972, p. 25.
B199 "The Mountain." The Canadian Forum, Dec. 1972, p. 25. Lies ("The Mountain: for Mouse Lash").
B200 "Why Do You Hate Me?". The Canadian Forum, Dec. 1972, p. 24. Lies; FM (revised).
B201 "From Yukichi Fukuzawa." Riverside Quarterly [Regina], 5, [No. 20] (April 1973), 299. Rpt. (revised--"From Yukichi Fukuzawa") in Sailing The Road Clear, 1 (Aug. 1973), p. [25]. Rpt. (revised--"from Yukichi Fukuzawa") in Island [Lantzville, B.C.], No. 10 (Fall 1981), p. 42.
B202 "Why Places Exist: for Pedro Xisto." Elfin Plot [Wood Mountain, Sask.], [A Prairie Issue], No. 13 (Summer 1973), n. pag.
B203 "For Flame." Sailing The Road Clear, 1 (Aug. 1973), p. 22.
B204 "Rocks, Wood, Seas, Written in Fever." Sailing The Road Clear, 1 (Aug. 1973), pp. 23-24.
B205 "Quotations for Ixtlilxochitl of Texcoco." Sundog [Wood Mountain, Sask.], No. 1 (Autumn 1973), p. 5.
B206 "A Room." Saturday Night, March 1974, p. 42.
B207 "Four Sanskrit Love Poems: A Sanskrit Love Poem, 6th Century A.D." The Capilano Review, No. 6 (Fall 1974), p. 70.
Written from the English translation by Jeff Masson.
B208 "Four Sanskrit Love Poems: Amarusataka, 46." The Capilano Review, No. 6 (Fall 1974), p. 72.
Written from the English translation by Jeff Masson.
B209 "Four Sanskrit Love Poems: Amarusataka, 49." The Capilano Review, No. 6 (Fall 1974), p. 73.
Written from the English translation by Jeff Masson.
B210 "Four Sanskrit Love Poems: From Bhavahuti's Uttararamacarita, I. 27." The Capilano Review, No. 6 (Fall 1974), p. 71.
Written from the English translation by Jeff Masson.
B211 "The Cities We Longed For." gnosis [Univ. of Waterloo], 3, No. 1 (March 1975), p. 3. Rpt. in Island [Lantzville, B.C.], No. 11 ([Winter] 1982), p. 37.
B212 "Driving." gnosis [Univ. of Waterloo], 3, No. 1 (March 1977), p. 4. Rpt. in The Headless Angel [New College, Univ. of Toronto], No. 1 (Spring 1977), p. 7. Rpt. in Island [Lantzville, B.C.], No. 10 (Fall 1981), p. 39.
B213 "Toronto November: For Dennis Lee." gnosis [Univ. of Waterloo], 3, No. 1 (March 1977), p. 4.
B214 "The Light of History: This Rhetoric Against That Jargon: for Jane Hess." The Canadian Forum, Dec.-Jan. 1977-78, p. 30.
B215 "What to Dream About." The Canadian Forum, Feb. 1978, p. 32.
B216 "Shakespeare's Sonnets: for Paul Dutton." The Headless Angel [New College, Univ. of Toronto], No. 2 (Spring 1978), p. 4.
B217 "One Thing." Island [Lantzville, B.C.], No. 10 (Fall 1981), pp. 40-41.
B218 "The Weather." Island [Lantzville, B.C.], No. 10 (Fall 1981), p. 43. Weath.
B219 "The Permanent Tourist Comes Home. 1: To the oppressed." Grain, II, No. 3 (Aug. 1983), 4.
B220 "The Permanent Tourist Comes Home. 2: Speak." Grain, II, No. 3 (Aug. 1983), 4.
B221 "The Permanent Tourist Comes Home. 3: Guarded." Grain, II, No. 3 (Aug. 1983), 5.
B222 "The Permanent Tourist Comes Home. 4: I wake up." Grain, II, No. 3 (Aug. 1983), 5.
B223 "The Permanent Tourist Comes Home. 5: To be in love." Grain, II, No. 3 (Aug. 1983), 5.
B224 "The Permanent Tourist Comes Home. 6: Well, to die." Grain, II, No. 3 (Aug. 1983), 5.
B225 "Insect Hopes." Writing [David Thompson Univ. Centre], No. 8 (Winter 1984), pp. 20-21.
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
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ISBN: 0920802931 (hardcover); 0920802958 (paperback)
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Source: Part 1: Works By John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 68-95
Part 1 Works By John Newlove; Contributions to periodicals and books; Poetry translations
Lecker, Robert (compiler)
B231 "Dancing." Contemporary Literature in Translation [Univ. of British Columbia], No. 8 (Fall 1970), p. 21. Lies (revised--"3 Rumanian Poets: Dancing. Geo Dumitrescu").
Translated from the original Rumanian poem by Geo Dumitrescu.
B232 "Eleventh Elegy." Contemporary Literature in Translation [Univ. of British Columbia], No. 8 (Fall 1970), pp. 22-23. Lies (revised--"3 Rumanian Poets: Eleventh Elegy. Nichita Stanescu").
Translated from the original Rumanian poem by Nichita Stanescu.
B233 "A Toast." Contemporary Literature in Translation [Univ. of British Columbia], No. 8 (Fall 1970), p. 23.
Translated from the original Rumanian poem by Ion Caraion.
B234 "Ulysses." Contemporary Literature in Translation [Univ. of British Columbia], No. 8 (Fall 1970), p. 21. Lies (revised--"3 Rumanian Poets: Ulysses. Ion Caraion").
Translated from the original Rumanian poem by Ion Caraion.
B235 "Until It Was Yellow." Contemporary Literature in Translation [Univ. of British Columbia], No. 8 (Fall 1970), p. 20. Lies (revised--"3 Rumanian Poets: Until It Was Yellow. Geo Dumitrescu").
Translated from the original Rumanian poem by Geo Dumitrescu.
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
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Part 1 Works By John Newlove; Contributions to periodicals and books; Prose poems
Lecker, Robert (compiler)
B226 "Harry." Talon, 4, No. 3 [Spring 1967], 20-21i. Lies (revised--"Harry, 1967"); FM (revised).
B227 "The Last Event." Collection [Sussex, Eng.], No. 2 (Aug. 1968), p. 22. Cave (revised).
B228 "Or Alternately." Grosseteste Review [Lincoln, Eng.], 2, No. 1 (Summer 1969), 11-14. Lies (revised).
B229 "A Complete Autobiography." The Tamarack Review, No. 56 (Jan. 1971), pp. 73-75.
B230 "The First Bird of Spring." The Canadian Forum, Dec. 1972, p. 24. Lies.
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- Author(s):
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- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
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Part 1 Works By John Newlove; Contributions to periodicals and books; Reprinted anthology contributions: A selection and articles
Lecker, Robert (compiler)
B241 "The Double-Headed Snake," "The Flowers: For My Brother," "For Judith, Now About 10 Years Old," "Four Small Scars," "The Grass Is a Reasonable Colour," "It Was All There," "Mao Tse-Tung, The Swimmer, The River," "On Two Painters: Claude Breeze, Roy Kiyooka," "Scene Briefly Noted," and "Then, if I Cease Desiring." In Poesie/Poetry 64. Ed. and prefaces Jacques Godbout and John Robert Colombo. Montreal / Toronto: Jour / Ryerson, 1963, pp. 88-97.
B242 "By the Church Wall." In A Century of Canadian Literature: Un Siecle de Litterature Canadienne. Ed. H. Gordon Green and Guy Sylvestre. Foreword and introd. H. Gordon Green. Preface and introd. Guy Sylvestre. Toronto: Ryerson, 1967, pp. 528-29.
B243 "The Double-Headed Snake" and "The Pride." In Modern Canadian Verse: In English and French. Ed. and preface A. J. M. Smith. Toronto: Oxford Univ. Press, 1967, pp. 389-96.
B244 "Good Company, Fine Houses." In Commonwealth Poems of Today. Ed. and introd. Howard Sergeant. London: John Murray, 1967, pp. 132-33.
B245 "Good Company, Fine Houses" and "I Talk to You." In The Penguin Book of Canadian Verse. Rev. ed. Ed. and introd. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1967, pp. 264-65.
B246 "America." In The New Romans: Candid Canadian Opinions of the U.S. Ed. and introd. A. W. Purdy. Edmonton: Hurtig, 1968, pp. 135-36.
B247 "The Dog." In New Voices of the Commonwealth. Ed. and introd. Howard Sergeant. London: Evans Brothers, 1968, pp. 55-56.
B248 [Notebook Entries, Dated 21 August 1968]. In Radio Free Rain Forest. Ed. Gerry Gilbert. Vancouver: Intermedia, 1968, pp. 55, 57, 59.
B249 "Before the Big Bend Highway," "By the Church Wall," "East from the Mountains," "The Hitchhiker," "In the Forest," "A Letter to Larry Sealey, 1962," "Not Moving," "Rogers Pass," "The Silence," "Too Many Miles," and "The WellTravelled Roadway." In Thumbprints: An Anthology of Hitchhiking Poems. Ed. and introd. Doug Fetherling. Toronto: Peter Martin, 1969, pp. 15-29.
B250 "The Flowers," "A Letter to Larry Sealey, 1962," "Not Moving," and "Then, if I Cease Desiring." In Fifteen Winds: A Selection of Modern Canadian Poems. Ed. and introd. A. W. Purdy. Toronto: Ryerson, 1969, pp. 63-69.
B251 "The Pride." In Notes for a Native Land. Ed. and preface Andy Wainwright. Ottawa: Oberon, 1969, pp. 64-71.
B252 "Alcazar," "Before Sleep," "Crow Walking," "End of May," "Every Muddy Road," and "The Man." In Contemporary Poetry of British Columbia. Ed. and introd. J. Michael Yates. Vancouver: Sono Nis, 1970, pp. 21-27.
B253 "The Arrival," "Crazy Riel," "The Engine and the Sea," "Everyone," "The Flower," "The Flowers," "In This Reed," "Lady, Lady," "Ride Off Any Horizon," "Then, if I Cease Desiring," "Verigin, Moving In Alone," and "Warm Wind." In 15 Canadian Poets. Ed. and preface Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1970, pp. 199-216.
B254 "Dream: [The luxurious trembling sea, winding atmosphere...]," "Dream 3: [Bees won't fly when it's this cold; . . .]," "Dream 4: [The lone figure leans in the snow....]," and "Man Drift." In Made in Canada: New Poems of the Seventies. Ed. and introd. Douglas Lochhead and Raymond Souster. Ottawa: Oberon, 1970, pp. 150-53.
B255 "The Fat Man." In How Do I Love Thee: Sixty Poets of Canada (and Quebec) Select and Introduce Their Favourite Poems from Their Own Work. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1970, pp. 121-25.
B256 "Indian Women." In Canadian Writing Today. Ed. and introd. Mordecai Richler. Harmondsworth, Eng.: Penguin, 1970, pp. 273-74.
B257 "Not Moving." In Reaching Out. Ed. Maurice Gibbons and James B. Southward. Vancouver: Resource, 1970, n. pag.
B258 "Notes from and among the Wars." In Poems for Voices. Ed. and introd. Robert Weaver. Toronto: CBC, 1970, pp. 29-39.
B259 "Scene Briefly Noted." In Quest. Ed. William Eckersley. Toronto: Dent, 1970, p. 10.
B260 "Vancouver Spring: Dawn." In Generation Now. Ed. Richard Woollatt and Raymond Souster. Don Mills, Ont.: Longman, 1970, pp. 135-37.
B261 "By the Church Wall," "Dream: [The lone figure leans in the snow....]," "Elephants," "The Engine and the Sea," "Ride Off Any Horizon," and "She." In Rhymes and Reasons: Nine Canadian Poets Discuss Their Work. Ed. and preface John Robert Colombo. Aspects of English. Toronto: Holt, Rinehart and Winston, 1971, pp. 85-96.
B262 "Elephants." In I Am a Sensation. Ed. Gerry Goldberg and George Wright. Toronto: McClelland and Stewart, 1971, p. 53.
B263 "The First Time," "The Grass Is a Reasonable Colour," "Succubi," "Verigin, Moving In Alone," "Verigin 3," and "The Well-Travelled Roadway." In New American and Canadian Poetry. Ed. and introd. John Gill. Boston: Beacon, 1971, pp. 179-84.
B264 "Good Company, Fine Houses." In The Broken Ark: A Book of Beasts. Ed. Michael Ondaatje. Ottawa: Oberon, 1971, n. pag.
B265 "The Hitchhiker" and "Solitaire." In Look through a Diamond. Ed. Joan Forman. Toronto: Holt, Rinehart and Winston, 1971, pp. 46, 170.
B266 "Lady, Lady." In Book Cellar's Choice. Toronto: The Book Cellar and McClelland and Stewart, 1971, n. pag.
B267 "Black Night Window," "Brass Box. Spring. Time.", "The Double-Headed Snake," "Everyone," "Everywhere I Go," "A Film of Lhasa," "Lady, Lady," "The Original Peg-Leg," "The Pride," "Samuel Hearne in Wintertime," and "When I Heard of the Friend's Death." In Poets of Contemporary Canada: 1960-1970. Ed. and introd. Eli Mandel. New Canadian Library Original, No. O7. Toronto: McClelland and Stewart, 1972, pp. 71-84.
B268 "Before Sleep." In Poetry Is for People. Ed. Tory I. Westermark and Bryan N.S. Gooch. Toronto: Macmillan, 1973, p. 74.
B269 "By the Church Wall," "The Flower," "The Hitchhiker," "Kamsack," "The Pride," and "Vancouver." In The Evolution of Canadian Literature in English 1945-1970. Ed. and introd. Paul Denham. Preface Mary Jane Edwards. Toronto: Holt, Rinehart and Winston, 1973, pp. 249-59.
B270 "The Hitchhiker," "The Pride," and "Samuel Hearne in Wintertime." In The Oxford Anthology of Canadian Literature. Ed. and preface Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 367-75.
B271 "In the Forest." In Marked By the Wild: An Anthology of Literature Shaped By the Canadian Wilderness. Ed. and introd. Bruce Littlejohn and Jon Pearce. Toronto: McClelland and Stewart, 1973, pp. 111-12.
B272 "In the Forest." In The Speaking Earth: Canadian Poetry. Ed. and preface John Metcalf. Toronto: Van Nostrand Reinhold, 1973, pp. 30-31.
B273 "Dear Al:". In Essays in B.C. Political Economy. Ed. and introd. Paul Knox and Philip Resnick. Vancouver: New Star, 1974, p. 80.
B274 "The Pride." In Canadian Anthology. Ed. and preface Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 560-63.
B275 "The Admiral Hotel," "Harry, 1967," and "These Are Yours." In Mirrors: Recent Canadian Verse. Ed. and introd. Jon Pearce. Toronto: Gage, 1975, pp. 57-59, 77-78, 106-08.
B276 "The Arrival." In Skookum Wawa: Writings of the Canadian Northwest. Ed. and preface Gary Geddes. Toronto: Oxford Univ. Press, 1975, p. 65.
B277 "Cat," "Good Company, Fine Houses," "I Talk to You," "The Stone for His Grave," and "White Lies." In The Penguin Book of Canadian Verse. 2nd rev. ed. Ed. and introd. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1975, pp. 291-94.
B278 "The Cave." In A Strange Glory. Ed. Gerry Goldberg. Toronto: McClelland and Stewart, 1975, p. 49.
B279 "The Hitchhiker" and "Kamsack." In The Prairie Experience. Ed. and introd. Terry Angus. Themes in Canadian Literature. Toronto: Macmillan, 1975, p. 84.
B280 "The Italic Delicacy," "It's Summer in British," "Vancouver-Spring-Dawn-List (2)," and "Weapons Lesson." In TISH: No. 1-19. Ed. and introd. Frank Davey. Vancouver: Talonbooks, 1975, pp. 250, 308, 317-19.
"The Italic Delicacy" is written by John Newlove and Mike Collins and signed: Oscar Shard(?).
B281 "A Letter to Larry Sealey, 1962" and "Verigin, Moving In Alone." In These Loved, These Hated Lands. Ed. Raymond Souster and Richard Woollatt. Toronto: Doubleday, 1975, pp. 150-52, 132-35.
B282 "Ride Off Any Horizon." In The Frontier Experience. Ed. and introd. Jack Hodgins. Themes in Canadian Literature. Toronto: Macmillan, 1975, pp. 5-9.
B283 "Samuel Hearne in Wintertime." In The Poets' Record: Verses on Canadian History. Ed. and preface Keith Wilson and Elva Motheral. Winnipeg: Peguis, 1975, pp. 26-28.
B284 "East from the Mountains," "If You Would Walk," "Kamsack: [Plump eastern Saskatchewan River town,...]," "Like a River," "The Prairie," "Ride Off Any Horizon," and "Verigin, Moving In Alone." In Twelve Prairie Poets. Ed. and introd. Laurence Ricou. Ottawa: Oberon, 1976, pp. 119-35.
B285 "The Cave," "The Double-Headed Snake," "Doukhobor," and "The Hero Around Me." In Canadian Poetry: The Modern Era. Ed. and preface John Newlove. Toronto: McClelland and Stewart, 1977, pp. 160-64.
B286 "The Double-Headed Snake," "Everyone," "Good Company, Fine Houses," "If You Would Walk," "The Pride," "Samuel Hearne in Wintertime," and "The Stone for His Grave." In Literature in Canada. Ed. and preface Douglas Daymond and Leslie Monkman. Vol. II. Toronto: Gage, 1978, 613-24.
B287 "The Hero Around Me." In The Poets of Canada. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1978, pp. 225-26.
B288 "Complaint." In To Say the Least: Canadian Poets from A to Z. Ed. and introd. P. K. Page. Toronto: Porcepic, 1979, p. 98.
B289 "The Story of a Cat" (short story). In Fiction of Contemporary Canada. Ed. and introd. George Bowering. Toronto: Coach House, 1980, pp. 32-38.
B290 "Harry, 1967," "Love Letter," and "What Do You Want?". In The Maple Laugh Forever: An Anthology of Comic Canadian Poetry. Ed. and "Prologue" Douglas Barbour and Stephen Scobie. Edmonton: Hurtig, 1981, pp. 76-77, 128, 134.
B291 "America," "The Pride," "Samuel Hearne in Wintertime," and "What Do You Want?". In The New Oxford Book of Canadian Verse: In English. Ed. and introd. Margaret Atwood. Toronto: Oxford Univ. Press, 1982, pp. 335-44.
B292 "The Cave," "Crazy Riel," "The Flowers," "Harry, 1967," "Notes from and among the Wars," "The Prairie," "Samuel Hearne in Wintertime," and "That There Is No Relaxation." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto / Downsview, Ont.: General/ECW, 1982. Vol. II, 162-80.
B293 "Crazy Riel," "The Double-Headed Snake," "Four Small Scars," The Green Plain, "The Prairie," "Ride Off Any Horizon," and "Samuel Hearne in Wintertime." In An Anthology of Canadian Literature in English. Ed. and introd. Donna Bennett and Russell Brown. Vol. II. Toronto: Oxford Univ. Press. 1983, 428-40.
B294 "Driving," "For and From Charles Williams," "Good Company, Fine Houses," "Harry, 1967," "Lady, Lady," "Love Letter," "No Song," "Ride Off Any Horizon," "Song of the Man Who Just Came In To Say That He Wouldn't Be Getting a Telegram for Money," "Verigin, Moving In Alone," "The Weather," and "What Do You Want, What Do You Want?". In The Contemporary, Canadian Poem Anthology. Ed. and introd. George Bowering. Toronto: Coach House, 1983. Vol. III, 230-47.
B295 "The Poetry Scene." The Vancouver Sun, 26 July 1963, Leisure Supp., p. 17.
B296 "John Newlove: The Fat Man." In How Do I Love Thee: Sixty Poets of Canada (and Quebec) Select and Introduce Their Favourite Poems from Their Own Work. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1970, p. 126.
B297 Commentary. In Rhymes and Reasons: Nine Canadian Poets Discuss Their Work. Ed. and preface John Robert Colombo. Aspects of English. Toronto: Holt, Rinehart and Winston, 1971, pp. 84, 86, 88, 90, 95, 96.
B298 "Craft Titbits." Books in Canada, June-July 1980, pp. 3, 4.
B299 "How a Man May Reveal Himself." Grain, 10, No. 3 (Aug. 1982), 5-6.
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
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- Annotated bibliography of Canada's major authors, no. 6
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- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 1 Works By John Newlove; Contributions to periodicals and books; Reviews
Lecker, Robert (compiler)
B300 "'Teach Yourself Poetry' Book: Better Try Lip-Reading First." Rev. of Teach Yourself Poetry, by Robin Skelton. The Vancouver Sun, 19 July 1963, Leisure Supp., p. 20.
B301 Rev. of The Tomorrow-Tamer, by Margaret Laurence. CBC Radio [Vancouver], 13 Jan. 1964. (Approx. 7 min.)
B302 Rev. of The Oxford Book of Canadian Verse: In English and French, ed. A. J. M. Smith. CBC Radio [Vancouver], 27 Jan. 1964. (Approx. 7 min.)
B303 Rev. of The Stone Angel, by Margaret Laurence. CBC Radio [Vancouver], 25 May 1964. (Approx. 7 min.)
B304 "Irritating Readers a Major Aim." Rev. of Mammon and the Black Goddess, by Robert Graves. The Vancouver Sun, 18 June 1965, Leisure Supp., p. A7.
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
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- Part 1 Works By John Newlove; Contributions to periodicals and books; Short stories
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- Part 1: Works By John Newlove; Contributions to periodicals and books
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works By John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 68-95)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 1 Works By John Newlove; Contributions to periodicals and books; Short stories
Lecker, Robert (compiler)
B236 "The Almost-King." BlewOintment [Vancouver], [9, No. 1?] [June 1967?], n. pag.
B237 "The Story of a Cat." In 72: New Canadian Stories. Ed. and introd. David Helwig and Joan Harcourt. Ottawa: Oberon, 1972, pp. 38-44.
B238 "So Soft, So White." Quarry, 22, No. 4 (Autumn 1973), 28-34.
B239 "The Sen-Sen Kid Dreams of Heaven." Quarry, 25, No. 3 (Summer 1976), 57-62.
B240 "The Egg." event, 6, No. 2 (1977), 24-31.
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Source: Lecker, Robert (compiler); . Part 1: Works By John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 68-95 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP1.
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Record: 316- Title:
- Part 1 Works By Michael Ondaatje; Books; Books edited
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP1
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
Part 1 Works By Michael Ondaatje; Books; Books edited
Brady, Judith (compiler)
A13 The Broken Ark: A Book of Beasts. Illust. Tony Urquhart. Ottawa: Oberon, 1971. 46 pp.
A14 Personal Fictions: Stories by Munro, Wiebe, Thomas, & Blaise. Toronto: Oxford Univ. Press, 1977. 231 pp.
A15 The Long Poem Anthology. Toronto: Coach House, 1979. 343 pp.
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Source: Brady, Judith (compiler); . Part 1: Works By Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 130-151 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP1.
Item Number: ABCMA06MOP1000006003001004
Record: 317- Title:
- Part 1 Works By Michael Ondaatje; Books; Broadsides
- Other Title:
- Part 1 Works By Michael Ondaatje; Books
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
Part 1 Works By Michael Ondaatje; Books; Broadsides
Brady, Judith (compiler)
A16 In a Bangalore Stream. Quarryposters, No. 5. Kingston, Ont.: Quarry, [1968?].
Designed by David Brown. Includes "In a Bangalore Stream."
A17 Philoctetes, on the Island. Unicorn Folio, 3rd ser., No. 1. [A Canadian Folio.] Ed. Alan Brillant. Santa Barbara, Cal.: Unicorn, 1969. [1 leaf.]
Includes "Philoctetes on the Island" (B44).
A18 To a Sad Daughter: For Quinton. Toronto: Coach House, [1980?].
Includes "To a Sad Daughter: For Quinton" (B122).
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Source: Brady, Judith (compiler); . Part 1: Works By Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 130-151 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP1.
Item Number: ABCMA06MOP1000006003001005
Record: 318- Title:
- Part 1 Works By Michael Ondaatje; Books; Criticism
- Other Title:
- Part 1 Works By Michael Ondaatje; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP1
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
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Brady, Judith (compiler)
A12 Leonard Cohen. Canadian Writers, No. 5. Toronto: McClelland and Stewart, 1970. 64 pp.
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Item Number: ABCMA06MOP1000006003001003
Record: 319- Title:
- Part 1 Works By Michael Ondaatje; Books; Dramatic production
- Other Title:
- Part 1 Works By Michael Ondaatje; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP1
p. 135-136 (2 p.) - Links:
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
Part 1 Works By Michael Ondaatje; Books; Dramatic production
Brady, Judith (compiler)
A22 the man with seven toes. Dir. Ken Livingston. Prod. The Gallimaufry Repertory Theatre Company. The Vancouver Festival. Vancouver, B.C. 1968.
[underbar]Dir. Paul Thompson. Music John Gross. Stratford Workshop. Stratford, Ont. 20 Sept. 1969. (20 min.)
The cast includes Anne Anglin, John Cutts, and Kenneth Pogue.
A23 The Collected Works of Billy the Kid. Dir. John Douglas and Martin Kinch. St. Lawrence Centre, Toronto. 23 April 1971.
The cast includes Ray Frady, Tedde Moore, Ashleigh Moorehouse, Anthony Palmer, and Mel Tuck.
[underbar]Prod. Young People's Theatre, [Toronto schools]. Nov.-Dec. 1971.
[underbar]Dir. John Wood. Prod. Neptune Theatre. Music Alan Laing. Neptune Theatre, Halifax. 21 Nov.-2 Dec. 1972.
The cast includes Ivar Brogger, Patricia Collins, and Neil Munro.
[underbar]Dir. John Wood. Music Alan Laing. Third Stage, Stratford, Ont. 10-28 July 1973.
The cast is Nancy Beatty, Cherry Davis, Michael Donaghue, Ted Follows, Art Hindle, P.M. Howard, Marilyn Lightstone, and Neil Munro.
[underbar]Dir. John Dennis. Old Fox Film Studio, Los Angeles. [3-9?] Nov. 1973.
[underbar]Dir. Martin Kinch. Toronto Free Theatre, Toronto. 22-29 Oct. 1974, 30 Oct.-5 Dec. 1974.
The cast includes Arnie Achtman, David Bolt, Chapelle Jaffe, Nick Mancuso, Wendy Thatcher, R. H. Thomson, and William Webster.
[underbar]Theatre London, London, Ont. 14 March-5 April 1975.
[underbar]Frontenac Playhouse, Quebec. 29 July-30 Aug. 1975.
[underbar]Dir. John Wood. Prod. Neptune Theatre. Music Alan Laing. Brooklyn Academy of Music, New York. 13-25 Oct. 1975.
The cast includes Ivar Brogger, P. M. Howard, and others.
[underbar]Dir. John Wood. Walnut Street Theatre, Philadelphia. [14-22?] Nov. 1975.
The cast includes Ivar Brogger, P. M. Howard, and others.
[underbar]Manitoba Theatre Centre, Warehouse Theatre, Winnipeg, Man. 25 Nov.-13 Dec. 1975.
[underbar]Dir. John Wood. Prod. Neptune Theatre. Music Alan Laing. National Arts Centre, Ottawa. 5-24 Jan. 1976.
The cast includes Ivar Brogger, P. M. Howard, and others.
[underbar]Dir. Gordon McCall. Prod. Simon Fraser Group Theatre. Simon Fraser Univ., Burnaby, B.C. 9-12 March 1977.
The cast includes John Carroll, Jack Crowston, Rochelle Dubetz, Gary Harris, Richard Newman, Rob Tranquilli, and Lynn Woodman.
[underbar]Theatre Three, Edmonton, Alta. 19-30 July 1977.
[underbar]Prod. Dream Spectrum Young Company. Studio Theatre. 4-15 July 1978.
[underbar]Saidye Bronfman Centre, Montreal. March 1982.
A24 Coming Through Slaughter. Dir. Paul Thompson. Theatre Passe Muraille. Toronto. 5-27 Jan. 1980.
The cast is Philip Akin, Ardon Bess, Bibi Caspari, Layne Coleman, Bob Dermer, Patricia Idlette, Diana Knight, Robert O'Ree, and Sandi Ross.
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Source: Brady, Judith (compiler); . Part 1: Works By Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 130-151 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP1.
Item Number: ABCMA06MOP1000006003001007
Record: 320- Title:
- Part 1 Works By Michael Ondaatje; Books; Editorial work
- Other Title:
- Part 1 Works By Michael Ondaatje; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP1
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
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A25 Editor. Quarry, 15, No. 1 (Sept. 1965)-16, No. 3 (March 1967).
A26 Editor. Coach House Press, 1977- .
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Item Number: ABCMA06MOP1000006003001008
Record: 321- Title:
- Part 1 Works By Michael Ondaatje; Books; Fiction
- Other Title:
- Part 1 Works By Michael Ondaatje; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP1
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
Part 1 Works By Michael Ondaatje; Books; Fiction
Brady, Judith (compiler)
A10 Coming Through Slaughter. Anansi Fiction Series, No. 36. Toronto: House of Anansi, 1976. 156 pp.
[underbar]New York: Avon, 1976. 156 pp.
[underbar]New York: Norton, 1976. 148 pp.
[underbar]London: M. Boyars, 1979. 156 pp.
[underbar]New Press Canadian Classics. Toronto: General, 1982. 158 pp.
A11 Running in the Family. New York: Norton, 1982. 186 pp.
[underbar]Toronto: McClelland and Stewart, 1982. 186 pp.
Includes the following prose: "April 11, 1932," "Asia," "Aunts," "The Babylon Stakes," "Blind Faith," "The Bone," "The Courtship" (B135), "Dialogues," "Final Days / Father Tongue," "Flaming Youth," "Harbour" (B138), "Historical Relations" (B129), "Honeymoon," "How I Was Bathed," "Jaffna Afternoons" (B130), "The Karapothas," "Kegalle (i)" (B131), "Kegalle (ii)," "Kuttapitiya," "Last Morning" (B132), "Lunch Conversation," "Monsoon Notebook (i)" (B136), "Monsoon Notebook (ii)" (B140), "Monsoon Notebook (iii)," "The Passions of Lalla" (B141), "Photograph" (B133), "Sir John" (B134), "St Thomas' Church," "Tabula Asiae," "Tea Country," "'Thanikama,'" "Tongue" (B137), "Travels in Ceylon," "Tropical Gossip," "The War between Men and Women," "'What We Think of Married Life,'" and "Wilpattu."
Includes the following poems: "The Cinnamon Peeler" (B120), "High Flowers" (B112), "Sweet Like a Crow: for Hetti Corea, 8 years old" (B109), "To Colombo" (B113), and "Women Like You."
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Source: Brady, Judith (compiler); . Part 1: Works By Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 130-151 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP1.
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Record: 322- Title:
- Part 1 Works By Michael Ondaatje; Books; Films
- Other Title:
- Part 1 Works By Michael Ondaatje; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP1
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
Part 1 Works By Michael Ondaatje; Books; Films
Brady, Judith (compiler)
A19 Sons of Captain Poetry. Cameraman Robert Fresco. Mongrel Films/Canadian Film-Makers Distribution Centre, 1970. (16 mm.; colour; 35 min.)
A20 Carry on Crime and Punishment. Mongrel Films, 1972. (16 mm.; 5 min.)
A21 [underbar]prod. and dir. The Clinton Special. Cameramen Bob Carney and Robert Fresco. Mongrel Films/Canadian Film-Makers Distribution Centre, 1972. (16 mm.; 71 min.; colour.)
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Source: Brady, Judith (compiler); . Part 1: Works By Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 130-151 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP1.
Item Number: ABCMA06MOP1000006003001006
Record: 323- Title:
- Part 1 Works By Michael Ondaatje; Books; Manuscripts
- Other Title:
- Part 1 Works By Michael Ondaatje; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP1
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
Part 1 Works By Michael Ondaatje; Books; Manuscripts
Brady, Judith (compiler)
A27 Theatre Department
Metropolitan Toronto Library
Toronto, Ontario
This collection includes an unpublished typescript of Billy the Kid, revised as of 1 July 1975, including notes and appendices for the script and production, and stage directions.
A28 The Earle Birney Collection
Thomas Fraser Rare Book Library
University of Toronto
Toronto, Ontario
This collection includes correspondence between Earle Birney and Michael Ondaatje (5 letters) dated 1967.
A29 The A. J. M. Smith Papers
Thomas Fisher Rare Book Library
University of Toronto
Toronto, Ontario
This collection includes 2 letters from Michael Ondaatje to A. J. M. Smith, 1965-66.
A30 The Raymond Souster Papers
Thomas Fisher Rare Book Library
University of Toronto
Toronto, Ontario
This collection includes 2 letters from Michael Ondaatje to Raymond Souster, 1967.
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Source: Brady, Judith (compiler); . Part 1: Works By Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 130-151 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP1.
Item Number: ABCMA06MOP1000006003001009
Record: 324- Title:
- Part 1 Works By Michael Ondaatje; Books; Poetry
- Other Title:
- Part 1 Works By Michael Ondaatje; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP1
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
Part 1 Works By Michael Ondaatje; Books; Poetry
Brady, Judith (compiler)
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A1 The Dainty Monsters. Toronto: Coach House, 1967. 77 pp.
Cover design by Ena de Silva Fabrics, Colombo, Ceylon.
Includes "Application for a Driving License," "As Thurber Would Say--C*ws," "Biography," "Birds for Janet--The Heron," "Christmas Poem 1965," "Come to the Desert," "Coming Home" (B37), "'Description Is a Bird'" (B6), "The Diverse Causes" (B21), "Dragon" (B17), "Early Morning, Kingston to Gananoque," "Elizabeth" (B14), "Elizabeth--a Slight Ache," "Eventually the Poem for Keewaydin," "For John, Falling" (B22), "Four Eyes," "The Goodnight" (B16), "Gorillas" (B18), "Henri Rousseau and Friends," "A House Divided" (B119), "In Another Fashion," "The Inheritors--for Quinton on her birthday, July 7, 1964" (B7), "Lilith," "'Lovely the Country of Peacocks,'" "The Martinique," "The Moving to Griffin," "O Troy's Down: Helen's Song," "Over the Garden Wall" (B9), "Paris" (B20), "Peter" (B19), "Pigeons, Sussex Avenue" (B13), "Prometheus, With Wings" (B23), "Pyramid" (B10), "The Republic," "The Respect of Landscapes," "She Carries a 'Fat Gold Watch,'" "Signature" (B15), "Song to Alfred Hitchcock and Wilkinson" (B5), "The Sows," "Sows, one more time," "The Time Around Scars" (B12), "Tink, Summer Rider" (B11), "A Toronto Home for Birds and Manticores," "The Trojan War Goes to Japan," and "You can Look, But You Better Not Touch."
A2 Aardvark (for the memory of Emma Peel). Five cent mimeo, No. 20. Toronto: Ganglia, [1969?]. 4 pp.
A3 the man with seven toes. Toronto: Coach House, 1969. 41 pp.
Includes "[at night the wind...]," "[bodies disappeared...]," "[carried her round the hook of knees...]," "[clothes rotted, flesh...]," "[don't you touch me...]," "[entered the clearing and they turned...]," "[evening. Sky was a wrecked black boot...]," "[eyes were grey beetles...]," "[found a tin of SIBER's oranges...]," "[goats black goats, ball bushed in the centre...]," "[he had tatoos on his left hand...]," "[hooked in two, on knees...]," "[in grey swamp...]," "[in the night shapes swing...]," "[into the plain; passed a body...]," "[kept to the river, frail...]," "[listen, once he crept up and bit open...]," "[lost my knife. Threw the thing at a dog...]," "[not lithe, they move...]," "[our best meal was two pale green eggs...]," "[Potter was a convict...]," "[she heard wades in the yellow fern...]," "[she slept in the heart of the Royal Hotel...]," "[she woke and there was a dog...]," "[slept away from trees...]," "[so we came from there to there...]," "[sun disappears after noon...]," "[they stripped clothes off like a husk...]," "[three days in swamp...]," "[to lock her head between knees...]," "[tongued me...]," "[the train hummed like a low bird...]," "[were found bathing in a river...]," and "[When we came into Glasgow town / ... // Three dogs came out from the still grey streets...]."
A4 The Collected Works of Billy the Kid: Left Handed Poems. New York: Norton, 1970. 100 pp.
[underbar]House of Anansi Poetry Series, No. 18. Toronto: House of Anansi, 1970. 105 pp.
[underbar]New York: Berkeley, 1975. 105 pp.
[underbar]Redtail Reprint Series. Berkeley, Cal.: Wingbow, 1978. 105 pp.
Includes "[After shooting Gregory...]" (B63), "[Am the dartboard...]," "[Angela--hand shot open...]," "[The barn I stayed in for a week then was at the edge of a...]" (B64), "Billy the Kid and the Princess," "[Blurred a waist high river...]," "[Christmas at Fort Sumner, 1880. There were five of us together...]" (B54), "[Crouching in the 5 minute dark...]," "[Down the street was a dog. Some mut spaniel, black and white....]," "[The end of it, lying at the wall...]," "[The eyes bright scales...]," "[Forty miles ahead of us, in almost a straight line, is the house....]" (B72), "[(Garrett had stuffed birds. Not just the stringy Mexican vultures...)]" (B55), "[Garrett moved us straight to the nearest railroad depot. We had...]," "[Getting more difficult...]," "[His stomach was warm...]," "[Hlo folks--'d liketa sing my song about the lady Miss AD...]," "[I have seen pictures of great stars,...]," "[I remember this midnight at John Chisum's. Sallie was telling...]" (B78), "[I send you a picture of Billy made with the Perry shutter as quick...]," "[Imagine if you dug him up and brought him out. You'd see very...]," "[In Boot Hill there are over 400 graves. It takes...]" (B65), "[In Mexico the flowers...]," "[It is now early morning, was a bad night. The hotel room...]," "[It is the order of the court that you...]," "['It was the Kid who came in there on to me,' Garrett told Poe,...]," "[January at Tivan Arroyo, called Stinking Springs more often....]," "[Jim Bayne's grandfather told him that he met Frank James...]," "THE KID TELLS ALL: 'EXCLUSIVE INTERVIEW,'" "[Miss Angela Dickinson of Tuscon...]" (B66), "MISS SALLIE CHISUM: A COURTEOUS LITTLE GENTLEMAN:" (B56), "MISS SALLIE CHISUM: BILLY THE KID & PAT GARRETT," "MISS SALLIE CHISUM: GOOD FRIENDS:" (B57), "MISS SALLIE CHISUM: ON BILLY," "MISS SALLIE CHISUM: PAT GARRETT," "MISTUH...PATRICK...GARRETT!!!" (B79), "[A motive? some reasoning we can give to explain all this...]," "[MMMmmmmmm. In the final minutes. It is Texas at midnight. A...]," "[MMMMMMMMMM mm thinking...]," "[No the escape was no surprise to me. I expected it. I really did,...]," "[Not a story about me through their eyes then. Find the...]," "ON HER HOUSE," "[One morning woke up...]," "[The others, I know, did not see the rounds appearing in the...]," "OUTSIDE," "[Pat Garrett, ideal assassin. Public figure, the mind of a doctor,...]," "PAULITA MAXWELL," "PAULITA MAXWELL: THE PHOTOGRAPH" (B67), "[Poor William's dead...]," "[A river you could get lost in...]," "[She had lived in that house fourteen years, and every year she...]" (B73), "[She leans against the door, holds...]," "[Snow outside. Wilson, Dave Rudabaugh and me. No windows,...]," "[So we are sitting slowly going drunk here on the porch. Usually...]," "[Sound up. Loud and vibrating in the room. My ears picking up...]," "[The street of the slow moving animals...]," "[These are the killed....]" (B68), "[This is Tom O'Folliard's story, the time I met him eating red...]," "[This nightmare by this 7 foot high doorway...]," "[Tilts back to fall...]" (B69), "[To be near flowers in the rain...]," "[(To come) to where eyes will...]," "[Up with the curtain...]," "[Waking in the white rooms of Texas after a bad night must be...]," "[We moved in a batch now. Not just Dave Rudabaugh, Wilson ...]" (B58), "[When Charlie Bowdre married Manuela, we carried them...]," "[When I caught Charlie Bowdre dying...]" (B70), "[White walls neon on the eye...]," "[With the Bowdres...]" (B71), and "[You know hunters...]."
A5 Rat Jelly. Toronto: Coach House, 1973. 71 pp.
Includes "A bad taste," "Beaver" (B85), "Billboards" (B74), "Birth of Sound," "Breaking Green" (B48), "Burning Hills: for Kris and Fred" (B91), "The Ceremony: A Dragon, a Hero, and a Lady by Uccello," "Charles Darwin pays a visit, December 1971" (B88), "Dates" (B118), "Fabulous shadow" (B29), "Flirt and Wallace" (B47), "'The gate in his head': for Victor Coleman," "Gold and Black" (B53), "Griffin of the night" (B49), "Heron Rex" (B92), "Kim, at half an inch" (B36), "King Kong" (B75), "King Kong meets Wallace Stevens" (B76), "Leo" (B39), "Letter to Ann Landers" (B77), "Letters & Other Worlds" (B82), "Looking into THE PROJECTOR," "Loop," "Near Elginburg" (B93), "Notes for the legend of Salad Woman" (B80), "Philoctetes on the island" (B44), "Postcard from Piccadilly Street" (B81), "Rat Jelly" (B94), "Somebody sent me a tape," "Spider Blues" (B83), "The Strange Case," "Stuart's bird" (B45), "Sullivan and the iguana," "Taking" (B90), "To Monsieur le Maire," "The Vault," "War Machine," "We're at the graveyard" (B50), "White Dwarfs" (B84), and "White Room."
A6 Elimination Dance. Coldstream. Ilderton, Ont.: Nairn, 1978. [16] pp.
Includes "Elimination Dance."
A7 Claude Glass. Toronto: Coach House, 1979. 5 pp.
Computer line-printer copy of work-inprogress; see "Claude Glass" (B121).
A8 There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978. New York: Norton, 1979. 107 pp.
[underbar]Toronto: McClelland and Stewart, 1979. 107 pp.
Rat Jelly and Other Poems: 1963-78. London: Marion Boyars, 1980. 107 pp.
Includes "The Agatha Christie Books by the Window" (B101), "Application for a Driving License" (A1), "Bearhug" (B95), "Billboards" (B74), "Biography" (A1), "Birds for Janet -- The Heron" (A1), "Breaking Green" (B48), "Buck Lake Store Auction" (B104), "Burning Hills: for Kris and Fred" (B91), "Buying the Dog," "Charles Darwin Pays a Visit, December 1971" (B88), "Country Night" (B105), "Dates" (B118), "The Diverse Causes" (B2I), "Dragon" (B17), "Early Morning, Kingston to Gananoque" (A1), "Elizabeth" (B14), "Farre Off" (B106), "For John, Falling" (B22), "Four Eyes" (A1), "'The gate in his head': for Victor Coleman" (A5), "Gold and Black" (B53), "The Goodnight" (B16), "Griffin of the Night" (B49), "Henri Rousseau and Friends" (A1), "Heron Rex" (B92), "The Hour of Cowdust" (B110), "A House Divided" (B119), "In Another Fashion" (A1), "Kim, at Half an Inch" (B36), "King Kong Meets Wallace Stevens" (B76), "Late Movies with Skyler" (B107), "Letters & Other Worlds" (B82), "Light: for Doris Gratiaen" (B98), "Loop" (A5), "'Lovely the Country of Peacocks'" (A1), "Moon Lines, after Jimenez," "Moving Fred's Outhouse / Geriatrics of Pine," "Near Elginburg" (B93), "Notes for the Legend of Salad Woman" (B80), "The Palace" (B111), "Peter" (B19), "Philoctetes on the Island" (B44), "Pig Glass" (B108), "Postcard from Piccadilly Street" (B81), "Pure Memory / Chris Dewdney" (B102), "Rat Jelly" (B94), "The Republic" (A1), "Sallie Chisum / Last Words on Billy the Kid. 4 A.M." (B99-B100), "Signature" (B15), "Spider Blues" (B83), "The Strange Case" (A5), "Sullivan and the Iguana" (A5), "Sweet Like a Crow: for Hetti Corea, 8 years old" (B109), "Taking" (B90), "The Time Around Scars" (B12), "Uswetakeiyawa" (B114), "The Vault" (A5), "Walking to Bellrock" (B103), "War Machine" (A5), "The Wars," "We're at the Graveyard" (B50), "White Dwarfs" (B84), and "White Room" (A5).
A9 Tin Roof. Island Writing Series. Lantzville, B.C.: Island, 1982. [20] pp.
Includes "[All night . . .]," "[Breaking down after logical rules . . .]," "Cabin," "[The cabin . . .]," "[Every place has its own wisdom. Come....]," "[The geography of this room I know so well . . .]," "[Going up stairs . . .]," "[How to arrive at this...]," "[Oh Rilke, I want to sit down calm like you...]," "[On the porch...]," "Rainy Night Talk," "[There are maps now whose portraits...]," "[To be lost...]," "[We go to the stark places of the earth . . .]," and "[You stand still for three days . . .]."
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Source: Brady, Judith (compiler); . Part 1: Works By Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 130-151 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP1.
Item Number: ABCMA06MOP1000006003001001
Record: 325- Title:
- Part 2 Works On John Newlove; Articles and sections of books, thesis, interviews, poem about John Newlove, and awards and honours; Articles and sections of books
- Other Title:
- Part 2 Works On John Newlove; Articles and sections of books, thesis, interviews, poem about John Newlove, and awards and honours
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP2
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Source: Part 1: Works On John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 95-126
Part 2 Works On John Newlove; Articles and sections of books, thesis, interviews, poem about John Newlove, and awards and honours; Articles and sections of books
Lecker, Robert (compiler)
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C1 Davey, Frank. "The Present Scene." Delta [Montreal], 19 (Oct. 1962), p. 1.
Located amidst "the downtown bohemian set . . . [are] John Newlove, Fred Douglas, Roy Kiyooka...[who] have acquired the reputation of 'beatniks'--but more by their life than by their writings. Their proudest boast is their nearness to 'life,' and, characteristically, their fierce independence and experimentation...."
C2 Dudek, Louis. "The New Vancouver Poetry (1964)." Culture, 25 (Dec. 1964), pp. 328-30 Rpt. in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, pp. 190-92.
"John Newlove, in his book Elephants, Mothers and Others, shows an affinity with the realistic strain in Canadian poetry, with Alfred Purdy, Alden Nowlan, and Milton Acorn. In his case the public voice produces rhetoric, abundance, and rich personal drama where the private voice of the others yields cool intimacy and laconic wisdom.... In John Newlove there is a pull in both directions, the public and private, but drama and turmoil are uppermost." Newlove "is a true poet."
C3 Colombo, John Robert. Commentary. Anthology. CBC Radio, 20 Oct. 1966.
Newlove is a "very cool and elegant poet." He explores "sharp images of human values at the losing end of the social spectrum." Newlove's poems are also read on this tape (B311-B313).
C4 Smith, A. J. M. "F. R. Scott and Some of His Poems." Canadian Literature, No. 31 (Winter 1967), p. 30. Rpt. in Poets and Critics: Essays from Canadian Literature 1966-1974. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1974, p. 19.
The theme, "simplicity and suggestiveness" of F. R. Scott's "Old Song" can still be found in the work of such Canadian poets as John Newlove and George Bowering.
C5 Story, Norah. "Poetry in English." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, p. 650.
"Another west-coast writer, John Newlove, brought out Elephants, Mothers, & Others and Grave Sirs in 1964 and in 1965 Moving In Alone which is distinguished by its ironic meditations on love." Newlove is "especially promising."
C6 Smith, A. J. M. "The Canadian Poet: Part II. After Confederation." Canadian Literature, No. 38 (Autumn 1968), p. 47. Rpt. ("The Canadian Poet: After Confederation") in Towards a View of Canadian Letters: Selected Critical Essays 1928-1971. By A. J. M. Smith. Vancouver: Univ. of British Columbia Press, 1973, p. 162.
The influence of the American Black Mountain writers could be seen "in the verse of such poets as John Newlove, George Bowering, Lionel Kearns," and others.
C7 Dudek, Louis. "2. Poetry in English." Canadian Literature, No. 41 (Summer 1969), pp. 117, 119. Rpt. in The Sixties: Writers and Writing of the Decade. A Symposium to Celebrate the Tenth Anniversary of Canadian Literature. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, pp. 117, 119. Rpt. in Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, pp. 262, 264. Rpt. ("Poetry of the Sixties") in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, pp. 277, 279.
Newlove emerged in 1964. He is listed among "the most active and prominent" of the "recent multitudinous progeny" who "are pretty much of a kind, and not exceptionally well-trained."
C8 Finlay, Mike. "Just Living a Poet's Life...." The Vancouver Sun, 18 July 1969, p. 27.
This is a journalistic portrait of a harddrinking day in the life of John Newlove. Against a domestic background, the post discusses--in a self-deprecating fashion--both his poetry and the sale of his papers to Thomas Fisher Rare Book Library.
C9 Atwood, Margaret. "Some Old, Some New, Some Boring, Some Blew, and Some Picture Books." Alphabet, No. 17 (Dec. 1969), p. 62. Rpt. in Second Words: Selected Critical Prose. By Margaret Atwood. Toronto: House of Anansi, 1982, p. 64.
The poetry in Hyphid (No. 3) ranges from "John Newlove's condensed starkness to Bill Bissett's incantory lyricism." See B114-B116, B120, and B122 for Newlove's contributions.
C10 Geddes, Gary, and Phyllis Bruce. "John Newlove." In 15 Canadian Poets. Ed. and preface Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1970, pp. 283-85. Rpt. (revised) in 15 Canadian Poets Plus 5. Ed. and preface Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1978, pp. 399-400.
A brief discussion of Newlove's poetry emphasizes the tone of "'wearied intellectuality'" in the later poems. Newlove is driven by moods of despair, disenchantment, and alientation and finds himself "wandering in some no-man's-land between a vanishing past and a never-to-berealized future." The "paring down of language" in the poems corresponds to a breakdown in memory and a darkening vision. Alongside the predominant vision of despair "are poems of historical interest and...great lyrical intensity." The poem "Ride Off Any Horizon" demonstrates "almost all of the areas of experience that concern Newlove in his poetry."
C11 Gnarowski, Michael. "Newlove, John (Herbert)." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. New York: St. Martin's, 1970, pp. 796-97. Rpt. in Contemporary Poets. Rev. ed. Ed. James Vinson. New York: St. Martin's, 1975, pp. 1112-13. 3rd ed., 1980, pp. 1097-98.
Bio-bibliographical data and critical commentary: Newlove "has moved from an initial stage of matter-of-fact, personal recollection through a middle phase of essentially negative vision and a conscious edging towards marginal projectivism, to a later condition in which there has been a noticeable darkening of his horizons coupled with a new intellectual toughness, and a more studied method in his technique." The third edition updates the bibliography from 1972 to 1977.
C12 Jones, D. G. Butterfly on Rock: A Study of Themes and Images in Canadian Literature. Toronto: Univ. of Toronto Press, 1970, pp. 3, 5, 136, 167-69, 172-73, 176.
Jones is the first to suggest that there is more than black despair in Newlove's poetry. He sees Newlove as seeking "native terms" to express the experience of being Canadian and as abandoning the cultural "garrison" for a wilderness which yields "vitality and community." By avoiding comparisons, Newlove's language seizes the world "in all its immediacy," and his organization of past experience allows him to give meaning to the present. By recognizing the unknown, darkness, and death, Newlove affirms life and, by confronting the desolation which surrounds him, exhibits "the courage to be" by digesting that desolation and "affirming the world despite it."
C13 Richler, Mordecai. "John Newlove." In Canadian Writing Today. Ed. Mordecai Richler. Harmondsworth, Eng.: Penguin, 1970, p. 328.
Biographical data.
C14 Woodcock, George. Canada and the Canadians. Toronto: Oxford Univ. Press, 1970, p. 254.
"One is often depressed by the power of fashion to hamper individuality, but a number of talents stand out among the young, and I would mention particularly Margaret Atwood, Gwendolyn MacEwen, George Bowering and John Newlove."
C15 Mandel, Eli. "Modern Canadian Poetry." Twentieth Century Literature, 1 (July 1970), 178-79. Rpt. in Another Time. By Eli Mandel. Three Solitudes: Contemporary Literary Criticism in Canada, No. 3. Erin, Ont.: Porcepic, 1977, pp. 85-86.
"In John Newlove's 'The Pride,' the poet thinks of all the great mythic masks and stories of the tribes." The image Newlove finds is "a nightmare of blood and battle.... But if history is blood, imagination too is blood-soaked. Place, event, and poem are so interfused, it is not possible to tell one from the other.... The longing for history appears finally...as an image of primitive desire, the imaginative source of poetry."
C16 Reference Division, McPherson Library, University of Victoria, B.C., comp. "Newlove, John Herbert* 1939- ." In their Creative Canada: A Biographical Dictionary of Twentieth-Century Creative and Performing Artists. Vol. I. Toronto: Univ. of Toronto Press, 1971, 232.
Bio-bibliographical data.
C17 Atwood, Margaret. "The Messianic Stance." Rev. of West Coast Seen, ed. Jim Brown and David Phillips. Canadian Literature, No. 47 (Winter 1971), p. 76. Rpt. ("The Messianic Stance: West Coast Seen") in Second Words: Selected Critical Prose. By Margaret Atwood. Toronto: House of Anansi, 1982, pp. 80-81.
Newlove, Lionel Kearns, and some of the early TISH poets are included in a group of West Coast writers concerned "with image as a physical object stripped of rhetoric"; in this respect, Newlove writes "less programmatically but sometimes more profoundly."
C18 Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, pp. 103-05, 117.
Indians (with their legends and myths) become ancestors for Newlove in "Resources, Certain Earths" and "The Pride," but there is "some suggestion in both poems that Newlove is identifying, at least partially, with the paranoia and the death, the losses and the failures, as well as the pride of place and the sense of belonging and origin." Atwood sees "Samuel Hearne in Wintertime" as an example of an "explorer" who finds either nothing or death.
C19 Avant-propos. ellipse, No. 10 (1972), pp. 4-6.
"La poesie de Newlove est avant tout la description soignee d'une vision qui se situe entre l'epique et le lyrique.... Newlove ne laisse jamais croire au bonheur; il serait meme pessimiste." Sa puissance n'est pas dans ces themes, mais dans "la carrure prophetique, de cette parole ancree dans l'experience quotidienne qui, par la force de l'evocation, se hausse au niveau de l'experience canadienne du monde et de l'existence. Les coordonnees de l'univers de Newlove ont une origine modeste, suffisante, mais elles s'envolent vers les dimensions elargies du temps et de l'espace poetiques, objets de reve, sources de beaute et d'etonnement." La sentiment de la revolte dans un monde inacceptable "se donne comme source mais s'oublie comme forme. Il est capable de se concentrer, de n'etre qu'un centre autour duquel une forme s'etablit." Newlove "rectifie, il abrege, il condense." A cause "d'une certaine brutalite de la parole," Newlove est "plus hermetique" que Fernand Ouellette. "Les faits, les souvenirs et les paysages sont peut-etre plus difficiles a comprendre que des images."
C20 Editorial. ellipse, No. 10 (1972), pp. 7-9.
Newlove and Fernand Ouellette are "Very different poets, [yet] they meet in their common refusal to bask in the banal light of secular culture devoted to production and consumption, and in the willful movement into the dark to discover...a strength or light that shines, however harshly, out of death itself." Perhaps the difference between Newlove's pessimism and Ouellette's optimism is "that one [Ouellette] can work deliberately and articulately within a tradition while the other [Newlove] cannot." Newlove "moves by a series of refusals" and isolation "into the dark of some undefined, some inarticulate reality." Newlove "habitually . . . distrusts traditional metaphysics and metaphor and proceeds indirectly, rummaging through personal memory...."
C21 New, W. H. Articulating West: Essays on Purpose and Form in Modern Canadian Literature. [Three Solitudes: Contemporary Literary Criticism in Canada, No. 1.] Toronto: new, 1972, pp. xxi, 149, 154-56.
Newlove is an individualistic poet who gravely and quietly observes "the human scene." "The Pride" shows an "imaginative identity" and "genuine national folk consciousness . . . to be insistently and unconsciously possible." Although Newlove's characters "find it impossible to contemplate the future and difficult to accept wholeheartedly the erratic present," they celebrate "individual man's possibilities." Newlove is among those who have "striven to make poetry an 'oral art' again."
C22 Barbour, Douglas. "The Search for Roots: A Meditative Sermon of Sorts." The Literary Half-Yearly [Univ. of Mysore, India], [Canadian Number], 13, No. 2 (July 1972), [1], 2, 3, 7-8, 9-11, 13, 14.
Barbour prefaces his essay with a quotation from "The Double-Headed Snake" and notes that "The Pride" "sets out some of the parameters of, and reasons for, this particular poetic quest" of roots. Newlove, among other poets, helps us to "settle" this country by researching the past. Barbour discusses David Thompson and Samuel Hearne, historical figures that Newlove "is drawn to." The poets who examine the past "are doing so because they recognize that a new relationship to the land, to the past, to the whole world itself, must be found.... Most important, the doubleedged quality of so much of the past experience must be understood, the good and the bad together, how our grandfathers loved the land even as they imposed their technocratic wills upon it." Newlove's works do achieve this. "'The Pride' is an incredible experience when read aloud, catching up the reader/listener, carrying him along in its violent energy, tripping him out of himself and, perhaps, granting him a vision of what Newlove believes is so important...": that the natives are "'our true forbears.'" His images trap "the unwary reader into slipping out of 'normal' thought, into seeing things in a new light." Newlove's use of Sis-i-utl, the doubleheaded snake, "implicates in his vision far grander and more complex vistas than just those of plains and mountains."
C23 G[eddes]., G[ary]. "Newlove, John (1938- )." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, p. 236.
Geddes briefly outlines Newlove's career and publications before proceeding to remark upon his work. Newlove's predominant personas are "the hurt animal and the detached analyst of emotions." The "characteristic poetic voice is personal, almost confessional, but it is a voice that is restrained and modulated by degrees of irony."
C24 Gnarowski, Michael. "Newlove, John, 1938- ." In his A Concise Bibliography of English-Canadian Literature. Toronto: McClelland and Stewart, 1973, pp. 86-87. Rev. ed. 1978, p. 101.
Bibliographical data.
C25 Ricou, Laurence. Vertical Man/Horizontal World: Man and Landscape in Canadian Prairie Fiction. Vancouver: Univ. of British Columbia Press, 1973, p. 110.
A passage from Newlove's "East from the Mountains" is cited to explicate the "eternal prairie" which is "both question and answer."
C26 Strickland, David. "Quotations" from English Canadian Literature. Modern Canadian Library. Toronto: Pagurian, 1973, pp. 14, 19, 41, 43, 53, 86, 137, 166, 172.
Quotations from the following works are listed under the following headings: "Ride Off Any Horizon" under "Apathy" and "Birth," "Show Me a Man" under "Death," "Like a Canadian" under "Desire," "Black Night Window" under "Existence," "Otter's Creek" under "Knowledge," "The Double-Headed Snake" under "Remembrance," "By the Church Wall" under "Remorse," "The Fat Man" under "Women," and "Moving In Alone" under "Writing."
C27 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 88, 108.
Newlove is one of a group of modern poets interested in "the ultimate isolation of a dream world." Viewed as a regionalist, he becomes representative of a "dark strain in Western realism" in the tradition of F. P. Grove.
C28 Atwood, Margaret. "Comment est-ce que je vais m'en sortir: La poesie de John Newlove." Trans. Rodolphe Lacasse. ellipse, No. 10 (1972), pp. 102-18. Rpt. ("How Do I Get Out of Here: The Poetry of John Newlove") in Open Letter, Ser. 2, No. 4 (Spring 1973), pp. 59-70. Rpt. in Second Words: Selected Critical Prose. By Margaret Atwood. Toronto: House of Anansi, 1982, pp. 114-28.
This is a phenomenological reading of Newlove's work which is at the same time an application of Atwood's theories of Canadian literature (see C18). This article should perhaps be compared with Jan Bartley's article (C38) which adopts a more optimistic point of view. Newlove's craftsmanship and "versatility" are not Atwood's "primary interest." She sees in Newlove a "lifeand-death obsession" with "negative qualities," and concludes that "external nature is something to be disliked or feared." Like birds and beasts of prey, Newlove's characters lead "meaningless and mutually destructive lives" filled with "revulsion, guilt, fright, and paralysis." Through "perpetual motion," Newlove seeks to escape an imprisoning world of things, but ultimately finds escape impossible. Newlove's persona "is a loser and his proper study is loss." His desperate situation is matched by a "desperate concern with lies and with truth-telling" that expresses itself negatively through "self-hatred" and "hatred of his own lies." Ultimately, Newlove's "distrust of words" leads him to view the act of writing as "a piece of trickery," and this forces him further into an imprisoning universe "where action is futile, love impossible, and words fraudulent." Nevertheless, "the desireability of survival" allows Newlove "in a few poems" to regard "the act of saying" as "redemptive," and it is this "tension between despair and hope" that creates the "real urgency" behind Newlove's poetry.
C29 Denham, Paul. "John Newlove." In The Evolution of Canadian Literature in English 1945-70. Ed. Paul Denham. Toronto: Holt, Rinehart and Winston, 1973, p. 248.
"Newlove's style exhibits a strong distrust of rhetoric and conventional form." This "restraint" is apparent both in "stark Imagist poems, and sometimes in longer poems where the tone is more conversational.... A characteristic persona in his poetry" is the uprooted hitchhiker, and the Prairies and an aboriginal past are both primary concerns. Unless we recognize the Indians as "'our true forbears,' ...we will all be hitchhikers, haunted by a sense of not really belonging to the land." Biographical data is included.
C30 Mandel, Eli. "Images of Prairie Man." Canadian Plains Research Conference. Printed in A Region of the Mind: Interpreting the Western Canadian Plains. Ed. Richard Allen. Regina: The Canadian Plains Study Centre/Univ. of Saskatchewan, 1973, p. 208. Rpt. (revised) in Another Time. By Eli Mandel. Three Solitudes: Contemporary Literary Criticism in Canada, No. 3. Erin, Ont.: Porcepic, 1977, p. 52.
In a discussion of images for the Prairies, Mandel notes that "According to Levi-Strauss, the image keeps a future place open for ideas not yet present.... Perhaps that is why the artist always moves between the end toward which he is impelled and the beginning where all was foretold. Perhaps that is why a young poet like John Newlove seeks his roots in Indian lore and wanders the highways of the province as distracted and obsessive as Grove in the Manitoba winter half a century ago."
C31 Bowering, George. "Where Does the Truth Lie." Open Letter, Ser. 2, No. 4 (Spring 1973), pp. 71-74. Rpt. (revised, expanded--"The Poetry of John Newlove") in A Way with Words. By George Bowering. Ottawa: Oberon, 1982, pp. 121-34.
As the title indicates, this is an examination of the many levels of truth and falsehood in Newlove's work, particularly in Lies. Bowering disagrees with Margaret Atwood (C28), and claims that the despair expressed in Newlove's poetry is public as well as private. Newlove's "pressure takes you to absolutes" which question the possibility of absolutes, until "...we soon learn that he intends to find the world [sic] 'lie' to mean at first fact, & then less dependable if the whole shebang is a big joke & the truth-finder a jokee." Only "self-parody" relieves a "personal phobia" before "the uncontrollable murderousness of our world," but Newlove "refuses to abandon despair." His concentration on dream is not a continuation of his previous emphasis on "lyrical passages," for the dreams are "historical cuts" which constitute a form of symbolism, "or at least action that is clearly transliterated into a reshuffled world."
C32 Atwood, Margaret. "Surviving the Critics: Mathews and Misrepresentation." This Magazine, 7, No. 1 (May-June 1973), 31. Rpt. ("Mathews and Misrepresentation") in Second Words: Selected Critical Prose. By Margaret Atwood. Toronto: House of Anansi, 1982, p. 136.
Atwood cites John Newlove as an example of a poet treated in more depth in Survival: A Thematic Guide to Canadian Literature than others considered by Robin Mathews to be representative of Atwood's own "political principles."
C33 [Suknaski, Andrew.] "Contributors." Elfin Plot [Wood Mountain, Sask.], [A Prairie Issue], No. 13 (Summer 1973), n. pag.
"dear john: drank with beth jankola, tim lander & others in your fabled ALCAZAR. she loved your reading--sd: 'he was so nervous--but he was beautiful & great. old newlove!'"
C34 Colombo, John Robert. "Newlove, John." In his Colombo's Canadian Quotations. Edmonton: Hurtig, 1974, p. 446.
Colombo quotes from "The Double-Headed Snake."
C35 Davey, Frank. "John Newlove." In From There to Here: A Guide to English-Canadian Literature. since 1960. Vol. II of Our Nature--Our Voices. Erin, Ont.: Porcepic, 1974, pp. 205-09.
Davey sees Newlove in the role of the "selfdeprecating ironic near-failure." An "anti-heroic concept...thoroughly dominates" his work. Newlove's work displays a "self-loathing only slightly less strong than his loathing for the human race," and he detests man's inability to recognize "the truth about himself and his world." Newlove's "relentless quest for truth" is paralleled by "one of the most direct and visually precisc styles in twentieth-century poetry." He employs "an exact phenomenological vocabulary" that avoids metaphor, simile, or overt symbolism. Davey supports Margaret Atwood's thesis (C28) that Newlove's landscapes are hostile and can paralyze the poet, or force him to attempt an escape from an inhuman world. The "hopeful notes in his work," though scarce, "occur in lyrics...and in historical poems."
C36 Klinck, Carl F., and Reginald E. Watters. "John Newlove (1938- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, p. 560.
Brief biographical data.
C37 Watters, R. E. "John Newlove (1938- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, p. 699.
Brief bibliographical data.
C38 Bartley, Jan. "Something in Which to Believe for Once: The Poetry of John Newlove." Open Letter, Ser. 2, No. 9 (Fall 1974), pp. 19-48. Rpt. in Brave New Wave. Ed. Jack David. Windsor, Ont.: Black Moss, 1978, pp. 196-208.
An extensive analysis of Newlove's viewpoint which concentrates on Black Night Window, The Cave, and Lies. Bartley examines the form and content of a number of poems. Emphasis is placed upon Newlove's perception of the universe as a set of "positives and negatives." We discover "an unpretentious voice which offers neither prophecy nor solution," and "tones of mocking self-pity" which indicate a search for truth before they signify a capitulation to gloom. Because Newlove favours an "unflinching look at reality," he expels romanticism and concentrates on recognizing a present tense which must be endured. Although his earlier poems reach for "a past rich in legend and tradition," the outcome of the "search motif" in Newlove's work is a recognition of the difficulty of believing in anything, combined with a desperate need to believe in something. Bartley takes issue with Margaret Atwood (C28) and argues that Newlove seeks to confront rather than escape the world, and, although he may admit disappointment, he does not admit defeat. The love poems in his later work reveal an intensified search for meaning and for release from love / hate, despair / hope dichotomies. He struggles with a language that is inadequate "since it can only describe things rather than the essence of things," seeing death in relation to language as the "perfect moment of communication." In Lies, Newlove expresses an intensified concern with dreams that transcend reality, while at the same time recognizing that dreams and reality conflict in a manner that forbids transcendence.
C39 Tallman, Warren. "Wonder Merchants: Modernist Poetry in Vancouver During the 1960's." boundary 2 [State Univ. of New York at Binghamton], [A Canadian Issue], 3, No. 1 (Fall 1974), 78-80. Rpt. in The Writing Life: Historical & Critical Views of the Tish Movement. Ed. C. H. Gervais. Coatsworth, Ont.: Black Moss, 1976, pp. 55-58.
Tallman sees Newlove as one of a group of Vancouver poets who were drawn into TISH's "vortex of energy" both with interest and reluctance. Because Newlove views himself as the object, and not the subject, of his environment, he becomes a victim of appallingly "grim surroundings." Newlove's strength is his tenacity in the face of alienation, but "he is in a stalled position," and the work is getting repetitious.
C40 Carson, Susan. "John Newlove Isn't Soppy or Stuffy and He Doesn't Languish." Weekend Magazine [The Globe and Mail] [Toronto], 28 Dec. 1974, pp. 12-14.
This short article popularizes Newlove and discusses his present situation. Carson's approach and Newlove's comments on his years as senior editor at McClelland and Stewart, the challenge of being a writer-in-residence, the process of writing a poem, life with a family, and the difficulty of earning a living add a human dimension to a poet often seen as isolated and desperate.
C41 Gervais, C. H. "Alienation in John Newlove's Poetry." Alive [Guelph, Ont.], No. 41 ([Jan. 1975]), p. 28.
Gervais takes issue with the critical viewpoint which would have "guilt" in Newlove reflecting self-pity and religious confession. It is instead "characteristic of his sense of alienation"; moreover, "For Newlove guilt prevents communication and what hurts is that one 'can see it.'"
C42 Henderson, Brian. "Newlove: Poet of Appearance." Essays on Canadian Writing, No. 2 (Spring 1975), pp. 9-27.
Henderson notes that Newlove's distrust for the world of appearances extends into his own poetry; accordingly, the work is stripped to the essentials and, even then, can often only get at the truth through insinuation. Words are misrepresentations -- lies -- unless one is able to get the "right" ones. Newlove's Romanticism and a tendency to structure poems around are key points raised. Newlove's work shows an ambiguous use and mistrust of history, mythology, dreams, memory, and imagination.
C43 Lecker, Robert A. "An Annotated Bibliography of Works by and about John Newlove." Essays on Canadian Writing, No. 2 (Spring 1975), pp. 28-53.
Bibliographical data which includes primary and secondary sources to 1974.
C44 Mandel, Eli. "Ecological Heroes and Visionary Politics." rune [St. Michael's College, Univ. of Toronto], No. 2 (Spring 1975), pp. 64-65. Rpt. in Another Time. By Eli Mandel. Three Solitudes: Contemporary Literary Criticism in Canada, No. 3. Erin, Ont.: Porcepic, 1977, p. 111.
In "The Pride," Newlove sees "that the genuine primitivism which he seeks, so that he might have a memory and an identity, is not the past but the poem itself. The later stanzas seem to turn away from this, perhaps to a more complex, certainly a more qualified, linking of White and Indian."
C45 Colombo, John Robert. Colombo's Canadian References. Toronto: Oxford Univ. Press, 1976, p. 370.
Brief bio-bibliographical data.
C46 Farley, T. E. Exiles and Pioneers: Two Visions of Canada's Future 1825-1975. Ottawa: Borealis, 1976, pp. 193, 196.
Briefly focusing upon the element of despair in Lies, Farley categorizes the entire work as a variation "on the exile theme."
C47 Hopwood, Victor G. "Explorers by Land to 1867." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. I, 36.
"The Pride" "draws extensively on travellers' writings and anthropological material, including Thompson's Travels. (In the same manner Newlove in 'Wintertime' also made use of Hearne's Journey.)"
C48 New, William H. "Fiction." In Literary History of Canada: Canadian Literature in English. Gen ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 248.
In a discussion of the abundance of literature on the Indians written in the 1960s, New lists Newlove among others who "found compulsive subjects in the life of the indigenous peoples."
C49 Pacey, Desmond. "The Course of Canadian Criticism." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 24.
Pacey lists Newlove, among others, as a later writer of "the social-realist brand of nationalism."
C50 Woodcock, George. "Poetry." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 292, 296, 297, 316.
Woodcock notes that in the 1960s Contact Press published an early volume by Newlove among others. Newlove was included in Milton Wilson's top ten poets in 1960-1970 as is evidenced in Milton Wilson's Poets of Contemporary Canada 1960-1970. By 1970, Newlove had moved "out of obscurity into acceptance." Newlove "was the first practitioner" of Prairie poetry, which is "concerned with the nature of the land, the moral meaning of its history, the guilts and failures of those who inhabit it." Moving In Alone is his best book.
C51 Frye, Northrop. "Haunted by Lack of Ghosts: Some Patterns in the Imagery of Canadian Poetry." In The Canadian Imagination: Dimensions of a Literary Culture. Ed. and introd. David Staines. Cambridge, Mass.: Harvard Univ. Press, 1977, pp. 39-40.
Frye sees Newlove as an example of a new generation of poets who use Indians to "symbolize a primitive mythological imagination which is being reborn in us: in other words, the white Canadians, in their imaginations, are no longer immigrants but are becoming indigenous...."
C52 "Newlove, John 1938- ." In Contemporary Authors: A Bio-Bibliographical Guide to Current Authors and Their Works. Ed. Christine Nasso. Vols. XXI-XXIV. Detroit: Gale, 1977, 636.
Bio-bibliographical data.
C53 Mandel, Eli. "Writing West: On the Road to Wood Mountain." The Canadian Forum, June-July 1977, p. 26. Rpt. in Another Time. By Eli Mandel. Three Solitudes: Contemporary Literary Criticism in Canada, No. 3. Erin, Ont.: Porcepic, 1977, pp. 69, 70.
Following George Woodcock's lead in an article in the London Times Literary Supplement, Mandel notes that a number of writers, including Newlove, leave and return to the West: "Newlove, from the badlands of McClelland and Stewart's office in Don Mills, Ontario, to the plains of Saskatchewan -- at least in memory and desire."
C54 Colombo, John Robert. "John Newlove." In The Poets of Canada. Ed. John Robert Colombo. Edmonton: Hurtig, 1978, p. 225.
Bio-bibliographical data to 1971.
C55 Mathews, Robin. Canadian Literature: Surrender or Revolution. Ed. Gail Dexter. Toronto: Steel Rail, 1978, pp. 158-59.
Michael Ondaatje, whose Rat Jelly is marked by poems "of intensely personalist, jaded sensibility," might be "used fairly to represent many of the others: John Newlove, the whole Coach House Press output of poets, Bill Bissett and most of the Anansi poets . . . [who] believe that certain forms of non-political violence and rejection of what they take to be the values of capitalism constitute some kind of radicalism." In fact, in most of these cases, "the quality of reaction is sentimental and ultimately supportive of the capitalist system."
C56 Stevens, Peter. "Newlove, John (1938- )." In his Modern English-Canadian Poetry: A Guide to Information Sources. Vol. XV of American Literature, English Literature and World Literatures in English. Detroit: Gale, 1978, pp. 23, 37, 178-80.
Bibliographical data with a very brief biography and some critical commentary. Newlove's poetry is one of "painful honesty" that reveals "hypocrisy, debilitation, and waste. The bleakness of this world view is only rarely relieved by a few lyric moments.... Almost without poetic devices, the language mirrors the dark world Newlove sees, though the forms of his poems show great variety in rhythmic movement."
C57 Moritz, A. F. "The Man from Vaudeville, Sask." Books in Canada, Jan. 1978, pp. 9-12.
This is a journalistic portrait with much biographical background. Newlove sees himself as "'the comedian of death . . . but still a comedian.'" He discusses early publication; his position as senior editor with McClelland and Stewart from 1970-74; the task of being writer-inresidence at Massey College, University of Toronto (1976-77); his concern with form, rhythm, and sound, as well as his love for history. One of the messages of Lies is "Don't be so sure you know what you're saying.... Another was that I was tired being told what a truthful poet I was.... Sometimes you can only tell the truth by hinting, by being devious."
C58 Marshall, Tom. Harsh and Lovely Land: The Major Canadian Poets and the Making of a Canadian Tradition. Vancouver: Univ. of British Columbia Press, 1979, pp. xiv, 31, 65, 96, 116, 175, 176-77, 178.
For Newlove and others, the "process of language and consciousness and finished work are one thing." He explores "an Indian vision of the world" and is "a poet of fact," rather than of dream. Newlove balances "the terror at the heart of the world" with an appreciation of sensual joy. According to Warren Tallman, Newlove is the "least 'proprioceptive'" of the Vancouver poets. Newlove "goes beyond autobiography to a sense of place and prairie and what it was to live there." He "investigates the possibility that we may incorporate the Indians in ourselves." He "conveys the same sense as is found in Purdy's and Atwood's poems, that the past lives on in our imaginative construction of the self, of a national sense of self." Newlove's celebration of "a harsh and lovely land...means that he is much more centrally in the Canadian mainstream than most of the Black Mountain poets." Irony, combined with "an essentially religious longing for unity with the world, often seen in terms of the Canadian land," locates Newlove in a century-old Canadian tradition.
C58a Moisan, Clement. Poesie des frontieres: etude comparee des poesies canadienne et quebecoise. Collection constantes, No. 38. Quebec: Hurtubise HMH, 1979, pp. 15, 63, 74, 79, 81-82, 167, 169, 171-95, 249, 274, 278, 280-81, 286, 296, 297, 298, 303, 325, 329. Rpt. A Poetry of Frontiers: Comparative Studies in Quebec/Canadian Literature. By Clement Moisan. Trans. George Lang and Linda Weber. Victoria: Porcepic, 1983, pp. x, 37, 40, 42, 47, 103, 104-20, 156-57, 176, 179, 180, 183, 191, 194, 205, 209-10.
Newlove is grouped among poets who, "in pursuing their own history and psychology, used increasingly stylized forms of expression...." Newlove "seeks out beauty in ugliness" and his "country is circumscribed, ancestral, desolate, a land of western mountains and plains.... His key images are of Indians, banished, oppressed men...." Moisan compares Newlove with Paul Chamberland and finds a connection through Allen Ginsberg's poetry. "Moving In Alone is...a sort of Canadian Howl...." Moisan compares biographical detail to find that "...the two poets think in a similar way and that both are inquisitive, open to experimentation, committed and drawn toward an ideal.... They both have strong regional ties.... They both feel their regions are victims of the oppression which is a result of not being industrialized. Both refer to the exploitation of those who live on the land.... Finally, both are conscious that the refuge of memory...cannot protect man from human evil or death." Communication becomes impossible. "The pessimism of these poets stems from a dilemma they see in the co-existence of love and death.... Black becomes the colour of life itself.... Chamberland and Newlove are poets of alienation, they seem to be foreigners wandering in a no-man's land between the evanescent past and an impossible future.... However much they love and want to possess it [the land], the land is the very symbol of disintegration and rootlessness. Poets cannot even name it...[and,] as the vision darkens, the language which conveys it becomes more convulsive and dislocated." Moisan closely examines the themes, diction, and structure in four groups of poems by Newlove and Chamberland. "The first two groups concern poetry itself, its nature and function. The third relates to poetry (la parole) to that of identity (le pays) while the last group takes up history and death." Some bibliographical data is provided at the end of the book.
C59 Pacey, Desmond. Essays: Canadian Literature in English. Ed. and preface A. L. McLeod. Foreword H. H. Anniah Gowda. Powre above Powres, No. 4. Mysore, India: Centre for Commonwealth Literature and Research, Univ. of Mysore, 1979, pp. 128-29.
A summary of Newlove's work up to Black Night Window. Newlove explores "conscience and consciousness." The alienation, loneliness, and guilt apparent in his "anguished and bitter" poems are "redeemed from morbidity" by a wry wit and an ultimate affirmation of life.
C60 Woodcock, George. The World of Canadian Writing: Critiques & Recollections. Vancouver: Douglas & McIntyre, 1980, pp. 152, 243, 244, 254.
Newlove is perhaps the first of "a brief yet brilliant generation" of modern Prairie poets who elegize "a passing and largely past way of life;...poems of memory and absence" are characteristic of this work.
C61 Adamson, Arthur. "Notes from a Dark Cellar: Ruminations on the Nature of Regionalism and Metaphor in Mid-Western Canadian Poetry." Essays on Canadian Writing, [Prairie Poetry Issue], Nos. 18-19 (Summer-Fall 1980), pp. 224-26. Rpt. in RePlacing. Ed. Dennis Cooley. [Canadian Perspectives, No. 2.] Downsview, Ont.: ECW, 1980, pp. 224-26.
In "The Prairie," Newlove indicates a split between nature and contemporary civilization: "The poem primarily indicates how language itself has lost meaning through dissociation from the earth. Language has lost its metaphoric depth and taken on the mere husk of abstraction. Words then become mere words, and history mere fact displacing myth, now seen as nothing more than 'invented remembrance.'"
C62 Barbour, Douglas. "John Newlove: More Than Just Honest Despair; Some Further Approaches." Essays on Canadian Writing, [Prairie Poetry Issue], Nos. 18-19 (Summer-Fall 1980), pp. 256-80. Rpt. in RePlacing. Ed. Dennis Cooley. [Canadian Perspectives, No. 2.] Downsview, Ont.: ECW, 1980, pp. 256-80.
Barbour expands upon what other commentators and Newlove himself frequently point out in more fragmentary fashion: Newlove is more than just a Prairie poet or journalist of despair. Barbour particularly notes how the "creative yes" of technique balances the "philosophical no" of content. Truth may be revealed in the rhythm of emotion or in the reason for a short poem; confession is liberation, and affirmation is everywhere found in Newlove's Heraclitean acceptance of the universe. Newlove's range includes poetic letters, love and anti-love lyrics, longer poems and meditations, dream poems, as well as those concerned with the problems of capturing "truth" in poetry. As "powerful aesthetic objects," Newlove's poems are affirmative: they "make the adrenalin run."
C63 Cooley, Dennis. "RePlacing." Essays on Canadian Writing, [Prairie Poetry Issue], Nos. 18-19 (Summer-Fall 1980), pp. 10, 17. Rpt. in RePlacing. Ed. Dennis Cooley. [Canadian Perspectives, No. 2.] Downsview, Ont.: ECW, 1980, pp. 10, 17.
Newlove is listed among a group of "Prairie poets" who have become "itinerants": "serious and talented writers" who have pursued careers elsewhere. Newlove is the first Prairie poet "to produce a large collection of impressive Prairie poems, written in open forms and rhythms--structures that evidently suit a large part of Prairie experience."
C64 Wood, Susan. "Participation in the Past: John Newlove and 'The Pride.'" Essays on Canadian Writing, No. 20 (Winter 1980-81), pp. 230-40.
Wood locates "The Pride" in a late 1960s, early 1970s English-Canadian movement engaged in "a search for the past--not as historical 'fact,' but as a present, personal mythology." A textual analysis reveals that the poet is finally able to achieve identity through a "connection with the past" attained not through "intellectual knowing" but by imagination, intuition, and a recognition of "shared human experience."
C65 Monkman, Leslie. A Native Heritage: Images of the Indian in English-Canadian Literature. Toronto: Univ. of Toronto Press, 1981, pp. 123-24, 141-43.
Several Newlove poems pertaining to Indians are briefly examined. Newlove uses Indian myths and legends to give "voice to a vanquished people," and to provide whites with an answer to "Where is here?"
C66 Woodcock, George. "To John Newlove." In his Taking It to the Letter. Montreal: Quadrant, 1981, pp. 20-21.
Woodcock responds to Newlove's request for corrections in two Canadian Literature reviews. Woodcock denies that he considers himself "immensely superior to people not connected with the Universities" and points out that he asked Newlove to contribute to the journal when Newlove was only working in a Vancouver bookstore. Woodcock concludes, "Let me say that I am very sorry that our relationship should at this moment seem to verge on the acrimonious, since I have always personally admired your poetry greatly...."
C67 Bentley, D. M. R. "A Stretching Landscape: Notes on Some Formalistic Continuities in the Poetry of the Hinterland." CV/II, 5, No. 3 (Summer 1981), 7, 15, 16.
Newlove's "The Pride" is "one of the finest achievements to date in fitting free verse to hinterlandscapes." His statement that the longline form of Prairie poetry "would be a long time in coming" implies that such poets "as MacDonald and MacInnes [are] in the background of the recent renaissance of prairie poetry."
C68 Atwood, Margaret. Introduction. In The New Oxford Book of Canadian Verse: In English. Ed. Margaret Atwood. Toronto: Oxford Univ. Press, 1982, pp. xxxii, xxxviii.
Newlove is cited among poets who continue the search for "the shape and inner meaning of the collision between the transplanted and the aboriginal, and...the quest for a spiritual structure that is authentic, indigenous, and accessible to them." He is also listed among poets of the 1960s "cultural 'renaissance,'" who "belonged to no particular group but were simply very talented."
C69 Barbour, Douglas. "John Newlove 1938- ." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto/Downsview, Ont.: General / ECW, 1982. Vol. II, 304-05.
"Certainly there are many moments of despair in Newlove's poetry, but equally there are moments of ecstasy, even of joy. And if there is self-hatred..., there is also a great compassion...." Newlove writes with "great rhythmic subtlety and intensity, in which punning turns of language and careful modulations of tone keep the reader continually off balance. His is a bare-bones poetic, as if he distrusted the riches of language because they tempt one to forms of lying...." Barbour includes bio- and bibliographical information.
C70 Metcalf, John. "Streaking through the Ivory Tower: Part Two." The Canadian Forum, Aug. 1982, p. 27. Rpt. (revised--"Without an 'E'") in Kicking Against the Pricks. By John Metcalf. Downsview, Ont.: ECW, 1982, pp. 134-36.
Metcalf discusses Newlove's "impressive skills" as an editor at McClelland and Stewart and mentions Newlove's stay as a teacher at Loyola. Metcalf notes that "under the influence," Newlove "bites people." Metcalf also discusses an outing with Newlove at the Petit Musee in Montreal and another at the Writers' Union in Montreal.
C71 Metcalf, John. Kicking Against the Pricks. Downsview, Ont.: ECW, 1982, pp. 52, 58, 67, 90, 91, 167, 184, 205, 206, 207.
Newlove is listed among "A partial list" of Canadian writers who "are as good as the best in the United States and England." He is "A very crafty poet" whose "simplicity" is complex. Newlove and Irving Layton are cited as "Our two most important poets." In a discussion of reviewers who continually spell his name "Metcalfe," Metcalf notes that one reviewer "nodded off in media res and started referring to me as John Newlove." He quibs, "One has one's pride." Metcalf includes a number of personal anecdotes about Newlove, including that during a reading "...a rat appeared and toured the auditorium, doubtless confirming and strengthening John's view of the nature of things."
C72 Woodcock, George. "Canadian Poetry: An Introduction to Volume Two." In Canadian Poetry. Ed. Jack David and Robert Lecker. New Press Canadian Classics. Toronto/Downsview, Ont.: General / ECW, 1982. Vol. II, 27.
Newlove has some of the Romanticism "of the late nineteenth-century decadents...." He "was one of the first poets to...bring out the poetry latent in the vast spaces and long roads of the Canadian West...."
C73 Gutteridge, Don. "Hommage to the Past-Future." Rev. of Homage, Henry Kelsey, by Jon Whyte. Brick, No. 15 (Spring 1982), p. 26.
Newlove's "The Pride" is given as an example of a poem which extends beyond the descriptive "to probe man's psychic interaction with landscape...to encompass the more universal aspects of man in time / space: dream, continuity, genesis, mortality, ontology, epistemology." The poets like Newlove are "discovering what the confrontation with landscape --the living-through-it,...--will reveal about the very linguistic structures needed to render it.... New ways of opening up the epic without sacrificing its characteristic length and rhythm, and of prolonging the present-tense power of the lyric over time/space, had to be found."
C74 Cooley, Dennis. "An Interview with Don Gutteridge." CV/II, 6, No. 4 (Aug. 1982), 45.
In a discussion of sound in poetry, Gutteridge notes that "Newlove is an exceptionally fine reader.... It was a relevation to them [Canadian literature students at the University of Western Ontario] as he was unconsciously tapping on the podium while he was reading in what looked to them to be very free form poems."
C75 Bennett, Donna, and Russell Brown. "John Newlove, b. 1938." In An Anthology of Contemporary Literature in English. Ed. Donna Bennett and Russell Brown. Vol. II. Toronto: Oxford Univ. Press, 1983, 427.
Newlove's "clipped syntax and austere diction give an ironic tone to his natural lyricism and create a dissonant style that expresses the psychic dissonance resulting from the combination of his wonder at the prairie landscape and the restless malaise that denies him complete union with his environment." The dominant tone of Newlove's work is "pessimistic, sometimes even nihilistic," although The Green Plain marks a radical departure from his past writing: "Now he finds it possible to perceive directly a universe that, if indifferent, nevertheless offers a profound experience of beauty." The authors include bio-bibliographical data.
C76 Geddes, Gary. "Newlove, John (b. 1938)." In The Oxford Companion to Canadian Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1983, pp. 558-59.
"Two impulses dominate Newlove's poetry: the urge to sing and the urge to record." Newlove is both a "delicate lyricist" dealing with love, beauty, and loss and a "stand-up comic, employing self-deflation, hyperbole, fantasy." In his second role of "archivist of human consciousness," he is concerned with preserving history "to discover both the pride and shame of his people, the nature of their origins and inheritance." Newlove is "Canada's most gifted and meticulous prosodist...." Bio-bibliographical data is included.
C77 Hosek, Chaviva. "Poetry in English: 2. The Sixties and Seventies." In The Oxford Companion to Canadian Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1983, pp. 662, 666.
With other poets "who came into prominence" in the 1960s, John Newlove helped to change and expand the subject matter of Canadian poetry. One of these new areas is North America Indian legend as a "source for a new mythic tradition." Newlove is also part of the "explosion of poetic energy on the Prairies." His early poems include ironic love meditations and explorations of his Prairie origins. The later work in The Cave and Lies is "harsher, more ironic and troubled." This has been followed "by a newer tone of celebration in The Green Plain."
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
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C87 Koerner Foundation Grant (1964).
C88 Canada Council Junior Arts Grants (1965-66, 1967-68, 1969-70, 1970-71).
C89 Deep Springs College [Deep Springs, Cal.] Arts Award (1969).
C90 Governor-General's Award for Poetry for Lies (1972).
C91 Canada Council Short Term Grant (1976-77).
C92 Canada Council Senior Arts Grant (1982-83).
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- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
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C79 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with George Bowering, Leonard Cohen, John Robert Colombo, Louis Dudek, Joan Finnigan, Northrop Frye, Michael Gnarowski, Phyllis Gotlieb, Ralph Gustafson, David Helwig, D. G. Jones, Dennis Lee, Tom Marshall, John Newlove, Bruce Ruddick, F. R. Scott, A. J. M. Smith, Miriam Waddington, and Milton Wilson. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 22 May 1971.
In Part II of a seven-part series, Anderson discusses with a number of poets and critics what makes poets and their poetry Canadian. Newlove's inability to define what is significant about the Prairies accounts for the dominance of that theme in his poetry. He talks about his memories of the Prairies: the silence was "as palpable as a sound," and the horizon was, "more than anything else, very concrete but unreachable." Although he considers himself a Canadian poet, he is not sure what the differences are between Canadian and American writers.
C80 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Margaret Atwood, Margaret Avison, Nelson Ball, Victor Coleman, Northrop Frye, John Glassco, Irving Layton, Dennis Lee, Dorothy Livesay, Gwendolyn MacEwen, Eli Mandel, Anne Marriott, John Newlove, Glen Siebrasse, Francis Sparshott, Peter Stevens, Miriam Waddington, Milton Wilson, and George Woodcock. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 19 June 1971.
In Part VI of a seven-part series, Anderson discusses small presses and literary criticism with a number of poets and critics. Because Newlove has an "infinite capacity for self-pity," he can only remember the bad reviews, although the good reviews encouraged him. His poems deal with a number of things but, in a general way, they are all "about desire in the Classical sense." Negative reviews of his work have helped him because they made him "so indignant. I felt like writing even more poems to show the silly bleeders that they're dead wrong."
C81 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Milton Acorn, Margaret Avison, Henry Beissel, Earle Birney, George Bowering, John Robert Colombo, Frank Davey, Ronald Everson, Joan Finnigan, John Glassco, Phyllis Gotlieb, David Helwig, George Johnston, George Jonas, Irving Layton, Anne Marriott, John Newlove, Alden Nowlan, Michael Ondaatje, James Reaney, Miriam Waddington, and Robert Weaver. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 26 June 1971.
In Part VII of a seven-part series, Anderson discusses the practical aspects of being a poet with a number of poets. Newlove is grateful for the assistance he has received from The Canada Council, but "...it's all just a game...and the best fillers-out-of-forms...will win over others that write poems as good." Grants do not have anything to do with poetry, since "...if I am in a period of very concentrated writing, I'm going to be doing that writing whether I've got a Canada Council grant or not." He adds, however, that grants give him time off to read and think.
C82 Fulford, Robert. Interview with John Newlove. This Is Robert Fulford. CBC Radio, 21 Oct. 1972. (23 min.)
Newlove discusses the "involuntary aspect" of his work and mentions some of the poets who influenced him. Fulford notes Newlove's "feeling for the land" and refers to the poems in Lies as "bleak -- edifying but bleak." Newlove says he is "a general historian of the human race, announcing its end." He also reads from Lies (B333 and B334).
C83 Fulford, Robert. [Guest: John Newlove.] Speaking of Books with Robert Fulford. Dir. Chuck Backhouse. Prod. Paul Marquandt. Toronto: Ontario Educational Communications Authority Program, 0155009, 1977. (Videotape; colour; 29 min.)
Newlove reads "The Double-Headed Snake" (B335) and "Quotations: It is our duty" (B336), but the bulk of the recording consists of an interview. Newlove explains that his decreasing productivity is because of waning youthful exuberance and higher standards. Lies is a gloomy book, so he gave it the title to inform the public that it did not have to accept the poems as the truth. Newlove doesn't see himself as a "poet of death" or a "pessimistic poet": "The Pride" is a poem of triumph; "The Fat Man" is a comic poem; and Lies begins and ends with a prayer. With Robert Graves and Wallace Stevens as early influences, he has been writing since 1959, but only in 1962 or 1963 did he begin to produce poems he was satisfied with. He points out that he only knew the TISH poets in passing, and talks briefly of having been a writer-in-residence, and then senior editor at McClelland and Stewart. His anthology, Canadian Poetry: The Modern Era, blocked his poetry for ten months, but he rediscovered what an "absolutely superb" poet P. K. Page is. His early poems are the Prairie ones, but The Fat Man: Selected Poems 1962-1972 contains many revisions. Finally, the content of his poetry may be "stark," but the "texture" is not: the joy of the sound of the poem balances the pessimism. Sometimes he is "more interested in the sound than the content."
C84 Pearce, Jon. "The Dance of Words: John Newlove." In his Twelve Voices: Interviews with Canadian Poets. Ottawa: Borealis, 1980, pp. 111-27.
In an interview taped in August 1977, Newlove denies being "self-loathing," but his interest in history has made him "disgusted with human actions en masse." He has "never" been autobiographical except in love lyrics: "'I' is a grammatical device to make the poem more immediate." Calling himself an "anecdotalist and humourist," Newlove distinguishes between the "pure lyric," "which does tend to be autobiographical" and swings "along on rhythm and sweetness of phrase," and the longer "story" poem, which depends "on minute observation." Using "The Pride" and "The Fat Man" as examples, he discusses his method of composition and revision, and notes that he is "an incorrigible thief," continually stealing or alluding to other writers' lines. Robert Graves, Wallace Stevens, and the Greek poet, George Seferis, are poets he was once very interested in. The interview is concluded with Newlove's views on line length, scansion, and rhythm. Pearce provides brief bio- and bibliographical information.
C85 Bartley, Jan. "An Interview with John Newlove." Essays on Canadian Writing, No. 23 (Spring 1982), pp. 135-56.
This interview, conducted in May 1978, provides an introduction to Newlove's personality in addition to his poetry. Newlove responds to the critical fixation on gloom in his poetry by pointing to the anthologists who have favoured this dark strain. Keats, Browning, and Tennyson, as well as Robert Graves, Wallace Stevens, and the Greek poet George Seferis, are listed as influences during Newlove's discussion of early publication and the help offered by Al Purdy and John Robert Colombo. Newlove also talks of having sat on the Governor-General's Award committee and of his own feelings of having won himself. He tells of how he teaches creative writing courses, how he feels about public readings, how he himself makes poems (usually beginning with rhythm), and of the importance he assigns to revision. Finally, he admits that the "conflict between desire and reality is the central tension" in his work. In conclusion, he discusses his own anthology, Canadian Poetry: The Modern Era, as well as his own favourite poems. He sees himself as a realistic "comedian."
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Source: Lecker, Robert (compiler); . Part 1: Works On John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 95-126 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP2.
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Record: 328- Title:
- Part 2 Works On John Newlove; Articles and sections of books, thesis, interviews, poem about John Newlove, and awards and honours; Poem about John Newlove
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- Part 2 Works On John Newlove; Articles and sections of books, thesis, interviews, poem about John Newlove, and awards and honours
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- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
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C86 Bowering, George. "John Newlove." In his Curious. Toronto: Coach House, 1973, n. pag.
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Source: Lecker, Robert (compiler); . Part 1: Works On John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 95-126 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP2.
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- Part 2 Works On John Newlove; Articles and sections of books, thesis, interviews, poem about John Newlove, and awards and honours
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- Author(s):
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- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
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C78 Gould, Mary Rebecca. "The Several Masks of John Newlove." M.A. Thesis Queen's 1975.
The thesis examines different aspects of Newlove's poetry and argues that reviewers have placed too much emphasis on the dark strain in his work. Chapter i discusses the critical work to date, while Chapter ii focuses upon the elements of despair and anguish which have proven to be so popular with commentators. The subsequent three chapters explore Newlove's "positive masks": the poet as historian, story-teller, and humorist and celebrant. Gould concludes that Newlove is a "realistic, and at times optimistic, humanist."
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- Part 2 Works On John Newlove; Selected book reviews; Black Night Window
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Titles critiqued: BLACK night window (Book)
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- Lecker, Robert (compiler) Part 1: Works On John Newlove.
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D22 Onley, Gloria. "A Canadian Poet." The Vancouver Sun, 7 June 1968, p. 26A.
Black Night Window is a kind of "contemporary Canadian analogue of Eliot's The Waste Land," underlining Newlove's "affinity with Eliot in theme and tone." Newlove looks for "psychological roots" within nature and the myths of Indians, but "The Pride" is "nothing more than a cliche in fancy dress." His best poems are not those concerned with the country's identity, but rather his own "in isolated moments of sensitivity."
D23 Dault, Gary Michael. Rev. of Black Night Window. The Tamarack Review, No. 48 ([Summer] 1968), pp. 82-84.
Newlove "should edit himself more rigorously," although there is "enough good material...to allow for some worthwhile reading." "The Pride" is "meandering talk"; "Letter Two" could be "a short story or even, eventually, a novel," but "not much of a poem." The list continues. At his best, Newlove's "constructions of sound and meaning [are] woven tightly together"; he uses allusions skilfully and includes the "shock of the real" and of "recognition." He often writes "about the writing process itself."
D24 Weaver, Robert. "John Newlove Is Today's Poet." Toronto Daily Star, 29 June 1968, Sec. Entertainment, p. 39.
"Unlike some of his contemporaries, Newlove gets about a lot, moves out alone, goes to the universities only to read poetry for money, and is discovering the country outside his skull." Weaver concludes, "Black Night Window isn't only an impressive book of poetry in is own right, it also has qualities of intelligence, ambition and generosity that make it a good omen for John Newlove's future career."
D25 Gibbs, Robert. Rev. of Black Night Window. The Fiddlehead, No. 76 (Summer 1968), pp. 93-95.
Newlove is "a lyrical poet" with "black" emotions that are "real and deep." His frequent black humour is derived largely from the nostalgia for lost childhood. Newlove is ultimately an affirmer through a love for mankind which emerges as compassion.
D26 Mandel, Eli. "The Poet as Animal -- of Sorts." Rev. of Wild Grape Wine, by Alfred Purdy; Winter of the Luna Moth, by Joe Rosenblatt; The Animals in That Country, by Margaret Atwood; and Black Night Window, by John Newlove. The Globe Magazine [The Globe and Mail] [Toronto], 12 Oct. 1968, p. 17.
This brief review compares Newlove's book to Margaret Atwood's The Animals in That Country. Both poets are concerned with animals, voyages, history, tribes, and loners.
D27 Bowering, George. Rev. of Black Night Window. The Canadian Forum, Nov. 1968, pp. 187-88. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 377.
Newlove "is one of our dozen really good poets." Bowering notes Newlove's division from the TISH poets. His "two forms of education" -"growing up in small town Saskatchewan, spending time in Alberta jails & beside B.C. highways" and as an "unemployed poet ...Olsonishly accumulating & ingesting historical data"--results in a "Purdyish" poetry, "in which classical references enter mind & lines along with more personal experience," and another form typified in "The Pride," in which "both kinds of education come together & validate one another.... Newlove is a scholar (the true kind) of the western American Indians, & finds their life style, history, thought, suffering, a major theme to return to, usually to start from." Bowering discusses the "uncommonly rich...sound, image, [and] historical resonances" in "The Pride."
D28 Cook, Gregory M. Rev. of Black Night Window. Canadian Literature, No. 39 (Winter 1969), pp. 96-98.
Newlove's poems are worthwhile and influenced by Wallace Stevens' "Domination of Black." But unlike Stevens, Newlove is an autobiographical poet, not a philosophical poet. But, because Newlove remains disengaged, he can achieve a "smooth transition from the subjective to the objective." Newlove's vision may be negative, and at times surrealistic, but, ultimately, it is not "defeatist," and is frequently relieved by "touches of humour," though they "are not light." Newlove's language is "concrete, immediate, precise and particular" in some poems.
D29 Purdy, A. W. Rev. of Black Night Window. Quarry, 18, No. 2. (Winter 1969), 43-45.
Newlove "loves" people and loves himself. The final lines of his poems are "sometimes forced to bear more weight than they can stand." Newlove understates colour -- this forces him to overdo honesty, but it also allows the reader to "intuit and sense much of the emotion in Newlove."
D30 Russell, Lawrence. Rev. of The Owl Behind the Door, by Stanley Cooperman; and Black Night Window, by John Newlove. British Columbia Library Quarterly, 32, No. 4 (April 1969), p. 39.
The book is "dull," and the title is "weak" and "pseudo-poetic"--"Although Newlove has obviously gone the route of all contemporary poets in whittling his language to the bone, as far as I can see there is very little marrow revealed. His lines are too short and his imagery...[lacks] any real resonance or conviction...."
D31 Ferns, John. "A Desolate Country: John Newlove's Black Night Window." The Far Point, No. 2. (Spring-Summer 1969), pp. 68-75.
Newlove's satire and "suavely ironic" tone produces "a powerful indictment of cherished rituals" and "our national capacity for blandness and compromise." His "window on the night is black, indeed," but "...the struggle between identification and despair...gives tension to Newlove's vision, and love and identification finally win out." Newlove's use of Indian names and "many of the images are startling in their power of evocation." Ferns examines the two voices in "The Pride." Black Night Window "is an uneven book," and his "attempts to catch the flux of experience often fail to surpass the dimension of triviality" and cliche; his "lucid free verse" is sometimes "no more than chopped prose." Ferns examines Newlove's "odd hate-love relationship with T.S. Eliot. In Black Night Window, Newlove "has become more diffident, more introspective.... The present volume points in the right direction--towards a significant wedding of the personal and national.... Interior journeys are balanced by the disinterested social awareness of genuine insights.... What Newlove needs for the future is a more roundly developed persona that will fuse tough talk and meditation. It is not fully achieved yet. Perhaps what is needed to gain this is an even stronger sense of irony at his own expense.... Also, since Newlove's language is honed down to a real, colloquial economy it could probably afford to take on a bit more imagistic sinew."
D32 MacCallum, Hugh. "Letters in Canada: 1968. Poetry." University of Toronto Quarterly, 38 (July 1969), 346.
"The volume is given a kind of epic direction by its concern with places, with Indian legend, and with the Canadian character. Newlove is irresistible when he writes of the deviousness of feeling, and...he has kept his flair for creating a comic yet monstrous vision by heaping image upon image. In spite of the care which has gone into these poems, I find the style rather too uniform."
D33 Barbour, Douglas. Rev. of Black Night Window. Dalhousie Review, 49 (Summer 1969), 293, 295.
"Newlove's poetry eschews the big statement, and sometimes even eschews the little image...." A few of the poems could have been left out. The long poems "are totally Canadian in concept and content." The short poems display "a wide range of feeling, a quirky sense of humour...and a tense and disciplined sense of the particular in human lives.... It is an apparent paradox that the writer of such sharp and cutting poetry, a poetry so carefully anti-'poetic,' should have such emotional impact and reveal...the Romantic search for roots in his country's past and its ancient mythology...." Newlove "can sum up our many reactions to the Canadian landscape.... Black Night Window is a major collection of poems."
D34 Scott, Peter Dale. Rev. of Black Night Window and What They Say. Poetry [Chicago], 115 (Feb. 1970), 360. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 377.
Scott disagrees with Richard Howard (D14), noting that "To judge from Black Night Window,...[Newlove] is as much a bum as Eliot was a drunken helot. Above all he is a formalist, alert to the tact as well as the audacity of the creative process." Newlove writes with an "impersonal dimension behind the sparse and controlled movements of his personae. A historical irony, not always explicit, allows him to record these movements in minute and exact perspective."
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Titles critiqued: CANADIAN poetry: The modern era (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
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Part 2 Works On John Newlove; Selected book reviews; Canadian Poetry: The Modern Era
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D70 Buri, S. G. "Towards the Mammoth Book." CV/II, 3, No. 1 (Spring 1977), 39.
"Newlove's contribution as editor...was mainly negative...: exclusion of concrete poetry, omission of longer poems, infrequent excerption from longer poems, and bias against poems which have been previously anthologized. As a consequence much of the best work of the poets has been excluded. The individual per-poet sections are rarely bad, seldom well-chosen.... Editorial enthusiasm and a generous choice of excellent poems...occur infrequently...." The selection for Dorothy Livesay is "ostentatiously wrongheaded" since her "political and her erotic highlights" are left out. Newlove has not used a critical rationale and has not included any writers "who have come here from the U.S.A."
D71 Long, Tanya. Rev. of Canadian Poetry: The Modern Era. Quill & Quire, April 1977, pp. 42-43.
"Newlove has taken the one less anthologized when faced with a decision between two of a poet's works, and the result is an anthology that is not only academically useful but also exciting to read." Long regrets, however, the inclusion of a "sketchy" bibliography.
D72 McFadden, David. Rev. of Canadian Poetry: The Modern Era. Books in Canada, May 1977, pp. 18-19.
The anthology is criticized for both its selection (reflecting the "tastes of Canadian academics") and its exclusiveness (particularly of Quebecois poets), although McFadden concludes that it "isn't a bad anthology."
D73 Bessai, Diane. "Unrepresentative." Rev. of Canadian Poetry: The Modern Era, by John Newlove; and The Road to Arginos, by David Solway. The Canadian Forum, Dec. 1977-Jan. 1978, p. 50.
The reviewer sees little worth in this "bland as well as rather unscholarly collection." She takes issue with both the poets left out and the selections of those who have been included.
D74 Malcolm, Ian. Rev. of Canadian Poetry: The Modern Era. Quarry, 27, No. 1 (Winter 1978), pp. 73-74.
Malcolm attacks the book's "survey" criterion for inclusion, pointing out that too many poets have been left out, and too few poems are present to represent the poets who have been included.
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Source: Lecker, Robert (compiler); . Part 1: Works On John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 95-126 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP2.
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Record: 332- Title:
- Part 2 Works On John Newlove; Selected book reviews; Elephants, Mothers & Others
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- Part 2 Works On John Newlove; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Criticism & interpretation -- Bibliography
Titles critiqued: ELEPHANTS, mothers & others (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 2 Works On John Newlove; Selected book reviews; Elephants, Mothers & Others
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D2 Purdy, A. W. "Who's Got the Emphasis?". Rev. of Elephants, Mothers & Others, by John Newlove; Kyoto Airs, by Roy Kiyooka; and White Lunch, by Gerry Gilbert. The Canadian Forum, Sept. 1964, pp. 142-43.
Newlove employs a variation of William Carlos Williams' idiom. The qualities of Newlove's lines are "smoothness" and "savage interjection." "He seems to have all the necessary qualities for a good poet running riot smoothly in his own poems: self-pity, lugubrious misery, ham-actor, the whole gamut of continuing change."
D3 Fiamengo, Marya. Rev. of Elephants, Mothers & Others. Canadian Literature, No. 22 (Autumn 1964), p. 27.
The language and images in Grave Sirs are "fresher and sharper" than in this volume. Fiamengo recognizes in Newlove a "considerable self-appraisal and self-analysis," and "a lyrical response" to an "intrinsic attitude towards experience."
D4 Dudek, Louis. "The New Vancouver Poetry." Culture, No. 25 (Dec. 1964), pp. 328-30. Rpt. in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, pp. 190-92.
Newlove "shows an affinity with the realistic strain in Canadian poetry," with Al Purdy, Alden Nowlan, and Milton Acorn. In Newlove's work "there is a pull in both directions, the public and private, but drama and turmoil are uppermost.... Newlove is a true poet." His work, like that of Roy Kiyooka and Gerry Gilbert, is "interesting."
D5 Wilson, Milton. "Letters in Canada: 1964. Poetry." University of Toronto Quarterly, 34 (July 1965), 364-65.
"The book's flavour is characteristic enough, but it's a less distinguished collection than I had hoped for."
D6 Howard, Richard. "A Canadian Chronicle." Poetry [Chicago], 108 (April 1966), 45, 48.
"The reluctance to make a positive gesture in the direction of form, the refusal to act upon what is found accounts...for some very slight work."
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Source: Lecker, Robert (compiler); . Part 1: Works On John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 95-126 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP2.
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Record: 333- Title:
- Part 2 Works On John Newlove; Selected book reviews; Grave Sirs
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- Part 2 Works On John Newlove; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Criticism & interpretation -- Bibliography
Titles critiqued: GRAVE sirs (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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D1 D[avey]., F[rank]. Editorial. TISH [Vancouver] March 1962, p. 1. Rpt. in TISH: No. 1-19. Ed. and introd. Frank Davey. Vancouver: Talonbooks, 1975, p. 133.
Davey briefly mentions Newlove's "newly published first book of poetry," adding "the few poems I have seen...seem exciting and real."
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Source: Lecker, Robert (compiler); . Part 1: Works On John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 95-126 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP2.
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Record: 334- Title:
- Part 2 Works On John Newlove; Selected book reviews; Lies
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- Part 2 Works On John Newlove; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
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- Genre(s):
- Bibliography
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- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Criticism & interpretation -- Bibliography
Titles critiqued: LIES (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 2 Works On John Newlove; Selected book reviews; Lies
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D41 Lane, Patrick. "Inner Landscape as Despair." The Capilano Review, 1, No. 2 (Fall 1972), 59-63.
Newlove uses himself "on the page as a metaphor for the fall of man," and he yearns for the Canadian hero's "death through mystery." Although the "magic of words" cannot redeem him in a present full of hopelessness, Newlove does find in "the historical perspective of hindsight...the mythic proportion of man.... If there can be a criticism of Newlove it would be that his vision is too narrow."
D42 Mandel, Eli. "Mark More His Crushing Desire for Truth." The Globe and Mail [Toronto], 14 Oct. 1972, Sec. Entertainment/Travel, p. 32.
Mandel recognizes the paradoxical meaning of the title and emphasizes Newlove's "crushingly intense desire for truth." In this volume Newlove seems to be attempting to escape the impersonal voice manifested in his earlier works. Although Newlove often plays the trickster, and displays forms of dramatism, the "desperate" qualities of the book are somewhat relieved by the "enduring humanity of the speaking voice."
D43 Estok, Michael. "All in the Family: The Metaphysics of Domesticity." Dalhousie Review, 52 (Winter 1972-73), 665-67.
Newlove's book is excellent, because he develops and perfects the expression of previous obsessions: honesty, dream, despair, and isolation. Newlove makes "the shape of pain coherent," but does not seek "refuge" from the pain he realizes. His "vision is beginning to assume the proportions of the really international talent this country has been waiting for."
D44 Fetherling, Doug. "Implosion Exposed." Books in Canada, Jan.-Feb. 1973, p. 38.
Lies is a break with Newlove's previous habits, for the poems are now "contemplative," and implode rather than explode. This poetry is powerful, and adds up to Newlove's "most important book to date.... Still the most effective is the poetry about other people's and by implication Newlove's hopelessness."
D45 Masters, Philinda. "Poetry of a Canadian Image." Rev. of Driving Home: Poems New and Selected, by Miriam Waddington; Lies, by John Newlove; and Happy Enough, by George Johnston. The Financial Post [Toronto], 28 April 1973, p. E7.
Snow is a common image in Canadian poetry. Miriam Waddington "is perhaps more consciously snowbound than Newlove...." Newlove "explores the human predilection for self-deception and hypocrisy.... For Newlove, snow is the dream, the lie, which blankets us from reality."
D46 Warkentin, Germaine. "Drifting to Oblivion." Rev. of Lies, by John Newlove; and Hiroshima Poems, by Al Purdy. Canadian Literature, No. 56 (Spring 1973), pp. 121-22.
Newlove and Purdy are "linked by their shared concern for the drift of civilization into oblivion, and the deposit this drift leaves in our imaginations." Because Newlove has come to see all his poems as lies, solitude becomes the mark of his language. He renounces truth and "the integrating webs of memory or dream, and move[s] fully into the exploration of a world without connection."
D47 Solecki, Sam. Rev. of Entrance of the Celebrant, by Susan Musgrave; Sunrise North, by Elizabeth Brewster; Lies, by John Newlove; and Between Tears and Laughter, by Alden Nowlan. Queen's Quarterly, 80 (Summer 1973), 311-12.
Overall, Solecki finds Lies "a disappointing book (especially in its six long poems)," but one which deserves reading because of Newlove's lyrics. At best, Newlove's poems "imaginatively recreate for us the relationship between self and place."
D48 Haas, Maara [sic; Myra]. Rev. of Lies. Canadian Author & Bookman, 49, No. 1 (Fall 1973), 24.
Newlove does not settle for the deceptions of a "perjured, decadent society" or even self, but "rejects bitterness or defeat" in his poems.
D49 Purdy, Al. Rev. of Lies. Wascana Review, 8, No. 2 (Fall 1973), 70-72.
Newlove "is master of a blunt subtlety." His "subject matter is quite simply an indictment of all mankind -- as well as a personal indictment." Purdy sees Newlove "allied to all the verse pessimists who ever lived" and wishes that Newlove would develop more range and write about happier things.
D50 Bennett, Donna A. Rev. of The Dance Is One, by F. R. Scott; Lies, by John Newlove; Waiting for Wayman, by Tom Wayman; and Cannibals, by Stanley Cooperman. Lakehead University Review, 6 (Fall-Winter 1973), 236-39.
Although Newlove "utilizes a definable, consistent persona,...he narrows his speaker so severely that he becomes fragmentary." The poems do exhibit a smoothness of style, but this conflicts with the narrator's "traumatic experiences." The result is a "didactic poetry, one which sacrifices artifice for thesis."
D51 Scobie, Stephen. Rev. of Lies, by John Newlove; and Incisions, by Robert Flanagan. The Canadian Forum, March 1974, p. 46. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 377-78.
Scobie emphasizes Newlove's concern with dreams and surrealistic images, and his concentration on "pictures of human misery," in which pessimism is mitigated by "acceptance rather than outrage."
D52 Ryan, Tom. Rev. of Nobody Owns th Earth, by bill bissett; and Lies, by John Newlove. World Literature Written in English, 13 (Nov. 1974), 294-95.
Newlove's poems are "urbane, controlled, and, for the most part, very beautiful." Newlove employs literate and allusive irony, and his forms vary. "John Newlove is capable of becoming a very important poet."
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Source: Lecker, Robert (compiler); . Part 1: Works On John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 95-126 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP2.
Item Number: ABCMA06JNP2000006002004007
Record: 335- Title:
- Part 2 Works On John Newlove; Selected book reviews; Moving in Alone
- Other Title:
- Part 2 Works On John Newlove; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Criticism & interpretation -- Bibliography
Titles critiqued: MOVING in alone (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP2
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Source: Part 1: Works On John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 95-126
Part 2 Works On John Newlove; Selected book reviews; Moving in Alone
Lecker, Robert (compiler)
D7 Purdy, A. W. "Alienation and Aloneness." Canadian Literature, No. 25 (Summer 1965), pp. 70-71.
Purdy finds Newlove's rhythmic style smooth and conversational. It is a poetry of "Isolation, alienation, and aloneness," as well as "self-pity." Moving In Alone is a "fine book," and an "integrated personal testament," even though "the poet should sometimes get the hell out of his own poems."
D8 Dudek, Louis. "Two Canadian Poets Who Are 'Raw, Exciting, Alive.'" Rev. of Moving In Alone, by John Newlove; and The Cariboo Horses, by Al Purdy. The Montreal Star, 26 June 1965, Sec. Entertainment, p. 12.
Newlove is influenced by Robert Creeley and William Carlos Williams, but "Unlike some other Vancouverites . . . Newlove is a conscientious artist who shapes his poems as aesthetic design." Dudek finds the work "genuine," but lacking in universal "ideas."
D9 Weaver, Robert. "Three Canadian Books That Might Get Overlooked." Rev. of Sunburst, by Al Purdy; The Boy with an R in His Hand, by James Rcaney; and Moving In Alone, by John Newlove. Toronto Daily Star, 3 July 1965, p. 10.
"It's an early book, and inevitably uneven.... With John Newlove the small local publisher Contact Press shows once more that it can spot many of the good poets while they're still young."
D10 Jones, D. G. "Moving In Alone: A Review Article." Quarry, 15, No. 1 (Sept. 1965), 12-15.
Newlove does not write love poems so much as he creates an "autopsy of emotion." These poems are "personal, autobiographical, confessional, but they are not lyrics. They are essentially dramatic, querulous, analytical. They avoid myth and all reference to the literary universe; they resist simile and metaphor; they rely on statement.... These poems, then, are exercises in awareness, stratagems against stupidity.... When discrimination fails, and when self-contradiction fails, there is always silence, a kind of dumb pointing," which allows the "world to make itself heard."
D11 Stevens, Peter. "Two Kinds of Honesty." Rev. of The Cariboo Horses, by Alfred Purdy; and Moving In Alone, by John Newlove. The Canadian Forum, Sept. 1965, p. 139.
Although Newlove's honesty is often transformed into Narcissism and several poems are "written seemingly under the influence of Creeley," Newlove is a "promising poet" who should improve his "uneven" poetry.
D12 Haas, Myra. Rev. of Moving In Alone. "The Canadian Author & Bookman, 41, No. 1 (Autumn 1965), 14.
Haas sets Newlove in opposition to Louis Dudek, Ray Souster, and Earle Birney. "Newlove has an inner eye capable of seeing in simple things, the complexity of life; in complexity, the basic and simple rudiment of living."
D13 Gnarowski, Michael. Rev. of Moving In Alone. Culture, No. 27 (March 1966), p. 80.
Gnarowski views Newlove's poetry as "a representative of what can probably be described as the nouvelle vague of Canadian poetry." Newlove represents the Vancouver poets well. The "intensely personal pre-occupations of Newlove suggest a gathering of the powerful forces of the individual's psyche. This in turn leads us to propose that direct expression of feeling in poetry is being made possible again, and the point of departure may very well be the extremely self-conscious contemporary idiom with which the Vancouver poets are working."
D14 Howard, Richard. "A Canadian Chronicle." Poetry [Chicago], 108 (April 1966), 45, 50.
Howard re-iterates his complaint (D6) and notes that "...we are certainly familiar with such roadside notations a la Kerouac to an already suffocating degree."
D15 Pearson, Alan. "Poetry Chronicle." The Tamarack Review, No. 39 (Spring 1966), pp. 83-84.
Newlove can be "trivial," but, at his best, "...he rises to greater heights" than Frank Davey. His "wide variety of offbeat experience...gives him material for poetry.... He has no love for the bourgeoisie.... Newlove is at his best in long poems," especially in "The Flowers," where "passion and imagination fuse together satisfactorily." "Moving In Alone" has "all the vividness of a Breughel painting."
D16 MacCallum, Hugh. "Letters in Canada: 1965. Poetry." University of Toronto Quarterly, 35 (July 1966), 373-74.
"An impressive first collection, it achieves an effect of unity both by the development of a distinctive idiom and by its pervasive concern with a few basic themes." MacCallum discusses Newlove's poems in terms of his preoccupation with love, and sees love set in the context of guilt, with the speaker as an "anti-lover." Confusion, paralysis, anguish, pity, and loss are not symptoms of "abandonment to self-pity." Newlove's use of irony and his "interesting awareness of setting and external detail" make him a promising poet.
D17 Lacey, Edward A. Rev. of Moving In Alone. Edge [Edmonton / Montreal], No. 7 (Winter 1967-68), pp. 86-88.
Lacey sees Newlove's poetry primarily in terms of "alienation and isolation." His preoccupation with a "nightmare world" is full of negatives: "I counted a total of 64 negatives and quasi-negatives in the first twelve poems of the book...."
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Source: Lecker, Robert (compiler); . Part 1: Works On John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 95-126 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP2.
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Record: 336- Title:
- Part 2 Works On John Newlove; Selected book reviews; The Cave
- Other Title:
- Part 2 Works On John Newlove; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Criticism & interpretation -- Bibliography
Titles critiqued: CAVE (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP2
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Source: Part 1: Works On John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 95-126
Part 2 Works On John Newlove; Selected book reviews; The Cave
Lecker, Robert (compiler)
D35 Hunt, Russell A. Rev. of The Cave. The Fiddlehead, No. 85 (May-June-July 1970), pp. 98-101.
Hunt discusses Newlove's precision of language in Black Night Window. In The Cave, "What seems to be happening, at least in part, is that Newlove is trying to get control of the sorts of language which have grown out of the whole mystique of LSD and heightened awareness.... Although there are no poems of the range and solidity of 'The Pride'...Newlove's range of ideas, tones and forms is perhaps wider than ever. This new direction does not supplant his previous techniques, but is added to them." He ranges from "pared-down minimality" to "Hopkinsesque verbal pyrotechnics.... His tone can move from the dead seriousness to some of his dream material" to "sardonic poems" to "black irony." "The book is uneven, as Newlove often is."
D36 Marshall, Tom. Rev. of The Cave. Quarry, 19, No. 4 (Summer 1970), p. 52.
This book contains "many little poems of no great impact. Newlove writes consistently well, but there is little here to match the power and vision of Moving In Alone.... Perhaps Newlove, whose poems explore the very lyrical realms of self-pity...can only rarely rise to the objectivity of larger vision."
D37 Pacey, Desmond. Rev. of The Cave. The Canadian Forum, Nov.-Dec. 1970, pp. 309-10.
Newlove "expresses his distrust of rhetoric..."; he almost eliminates "similes and metaphors as well as applied decoration of all sorts...[which] makes his poetry rather dull and uninteresting on the first hasty reading." He uses "sombre" colours, a "subdued" tone, and is "apologetic" about his undramatized self. But subsequent readings "reveal nuances, patterns and implications.... The constant understatement grows compulsive; behind the low conversational tones we become aware of half-stifled shrieks. Above all, we gradually sense the existence of a complex and fascinating personality expressing itself with an almost embarrassing frankness.... Many of the poems recreate the landscape of dreams,...almost nightmares.... Newlove is always reminding us of the horror which lurks behind our daily illusions. Almost all the poems in this book are deeply personal, almost confessional." However, a few poems reveal "a vein of talent which we hope he may exploit more fully in the future--a talent for the sympathetic, indeed empathetic, treatment of other sad or lonely or bewildered human beings." Newlove is "not at ease" with "the obliquity of irony." He should "give it to us straight."
D38 Childs, Barney. Rev. of The Cave. The Arizona Quarterly [Univ. of Arizona], 27 (Spring 1971), 83-87.
Childs holds Newlove up as an example to American poets. Newlove is consciously Canadian, and one who tries to deal with "time, place, and history." His emphasis on dream is related to musical "repetition of sound and perception." Newlove's maturity is demonstrated by a "gloomier context." Aside from some "sloppy and...maudlin" love poems, the range of experience is broadened and the technique is strengthened.
D39 Gustafson, Ralph. Rev. of The Cave. Queen's Quarterly, 78 (Spring 1971), 140, 142.
Newlove writes sad Realism. "The poems' music is thin and staccato, accompanies a gnomic turn of mind. It is easy to fault his world: not the mind that views it but the world it presents." Yet his "scope is fine and he packs power punches."
D40 Purdy, A. W. "Calm Surfaces Destroyed." Canadian Literature, No. 48 (Spring 1971), pp. 91-92.
The "brooding undercurrent of domesticated despair" in Newlove's earlier books finds its ultimate expression in this collection, and "any trace of gaiety has disappeared." Although there are love poems and brief glimpses of hope, the book is dissatisfying because "some kind of magnificence and / or profundity" should come out of "despair and bitterness."
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Source: Lecker, Robert (compiler); . Part 1: Works On John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 95-126 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP2.
Item Number: ABCMA06JNP2000006002004006
Record: 337- Title:
- Part 2 Works On John Newlove; Selected book reviews; The Fat Man: Selected Poems 1962-1972
- Other Title:
- Part 2 Works On John Newlove; Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
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- Bibliography
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- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Criticism & interpretation -- Bibliography
Titles critiqued: FAT man: Selected poems 1962-1972 (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP2
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Source: Part 1: Works On John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 95-126
Part 2 Works On John Newlove; Selected book reviews; The Fat Man: Selected Poems 1962-1972
Lecker, Robert (compiler)
D53 Casto, Robert C. "Savaging the Image: The Poetry of John Newlove." Waves, 6, No. 1 (Autumn 1977), 72-74.
Casto points to a "technical and intellectual evolution" in Newlove's work: "...these poems become, as one moves into the book, less self-conscious and more self-assured, less emotionally pretentious and more directly motivated." Although Newlove is "Seemingly committed to the world of savage data," he is "in fact the poet of a universal suffering humanity."
D54 Gasparini, Len. "Silence Is Preferable to Compulsive Poetry." Rev. of Corners in the Glass, by Ralph Gustafson; The Fat Man: Selected Poems 1962-1972, by John Newlove; and Out of Place, by Eli Mandel. The Toronto Star, 8 Oct. 1977, p. D7.
Gasparini sees irony as "Newlove's forte," and praises the poet's combination of "the experience of the street with a sure poetic instinct and a love of books."
D55 Jewinski, Ed. Rev. of The Fat Man: Selected Poems 1962-1972. Quill & Quire, Nov. 1977, p. 36.
The bulk of this review is devoted to praise of Newlove's technical achievements, which Jewinski feels are more evident within this context of a selected poetry. Newlove's poetic vision is not "dark and bleak," but "rests in the assertion that man is a creature who is unwilling to accept his life as it is."
D56 Skelton, Robin. "Newlove's Power." Canadian Literature, No. 79 (Winter 1978), pp. 101-03. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 378.
Seeing little "life-enhancing" comedy or affirmation in The Fat Man: Selected Poems 1962-1972, Skelton argues that the poetry "begins in a dark and brooding whimsicality, and moves steadily into utter despair": "The only driving forces of life are desire, which is always thwarted, and dreams which are never fulfilled." He finds that Newlove writes with "economy and elegance" and concludes that the work "is one of the most impressive to have been published in the English speaking world in the last twenty years."
D57 Fletcher, Peggy. "No Two Alike." Rev. of Corners in the Glass, by Ralph Gustafson; The Fat Man: Selected Poems 1962-1972, by John Newlove; Variable Cloudiness, by John Robert Colombo; and Lamp in the Northern Wind, by Marjorie Wilkinson. Canadian Author & Bookman, 53, No. 2 (Jan. 1978), 43.
Emotion is the "centre-ring attraction" of The Fat Man: Selected Poems 1962-1972, and Newlove's "prairie background may have something to do" with his "intense vision."
D58 Jewinski, Hans. Rev. of The Woman I Am, by Dorothy Livesay; and The Fat Man: Selected Poems 1962-1972, by John Newlove. Books in Canada, Jan. 1978, p. 26.
Jewinski laments the absence of an introduction and Newlove's decision to title the work after a poem which is not one of his best. "Nevertheless, The Fat Man is an important book."
D59 Safarik, Allan. Rev. of The Fat Man: Selected Poems 1962-1972. Quarry, 27, No. 2 (Spring 1978), 82-84.
Safarik refers to Newlove as "the most important poet in Canada today," "A master poet," and "a poet of world rank." He questions why more poems were not included from Moving In Alone and criticizes at some length the physical appearance and typography of the work.
D60 Steele, Charles R. Rev. of The Martyrology, by bpNichol; The Fat Man: Selected Poems 1962-1972, by John Newlove; and Pear Seeds in My Mouth, by Glen Sorestad. The University of Windsor Review, 13 (Spring-Summer 1978), 111-13.
Steele briefly discusses how affirmation is achieved in Newlove's work: sometimes through content, most often through technique. The Fat Man: Selected Poems 1962-1972 is "a good summary of" and "good introduction to" Newlove's work.
D61 Hornyansky, Michael. "Letters in Canada: 1977. Poetry." University of Toronto Quarterly, 47 (Summer 1978), 348.
Newlove is "'direct and visually precise,'" but not "evocative." In his later poetry, "where he takes on an authority from the Indians and their language and likewise from the Doukhobors," the poems tighten from his otherwise "fragmentary verse, [which contains] a certain sparseness of rhythm." Newlove has an "Excessive concern with himself as poet." The reviewer concludes, "Much to approve, but finally not my style."
D62 Solecki, Sam. Rev. of Ghost in the Wheels, by Earle Birney; and The Fat Man: Selected Poems 1962-1972, by John Newlove. The Fiddlehead, No. 118 (Summer 1978), pp. 148-52.
Solecki finds the unexpected to be a characteristic of Newlove's best poetry; the reader is accordingly made to "perceive the reality of the poem tentatively" as Newlove shifts with words and lines. Newlove is concerned with the poem as misrepresentation of truth but, despite Newlove's "precise and sure poetic idiom," the reviewer finds his range and vision limited.
D63 Butling, Pauline. "one more ruinous way to safety." The Camrose Review: a journal of lutheran thought, No. 1 ([1982]), pp. 44-45.
This book establishes Newlove as "a major poet" of the "humanist position," "focusing on the sufferings of humanity...the inevitable despair at powerlessness in the face of disorders, confusions, and deceits." Newlove's "ironic stance gives him control of the despair and allows for a wit[ty] and sardonic humor which lightens the poems.... With language reduced to a bare minimum, images stand out sharply, which in turn serves to draw attention to the ironic, so that no 'statement' need be made." Newlove's consistent structuring also adds to the ironic perspective. If the picture is usually bleak, for Newlove "...writing is an affirmation of being." However, "A Newlove world becomes narrower and narrower in the range of feeling or action."
D64 Mandel, Ann. "lies in the world." The Camrose Review: a journal of lutheran thought, No. 1 ([1982]), pp. 45-47.
George Steiner argues "that language is inherently, creatively, duplicitous, and from that point of view, I want to consider both the despair...evident in Newlove's poems...and the distrust of language he often expresses.... Newlove's poems are full of alternatives, propositions, dreams, the desire to be other and elsewhere, the desire to be.... Making up the lives of others creates more fictional space and more masks for the poet...." In this latter type of poetry, Newlove tries "to go beyond the limits of a single determined self.... Newlove's poems, then, are those necessary lies which dream of other ways of being.... Newlove never speaks from outside our desperate situation; he suffers it beside us." The "debris" in his poems is consciously or unconsciously "structured" through "repetition of accent, sound and image...." The poems in this book are linked together by "word, subject, theme or image" and "do not necessarily appear in the same sequence as they did" in the original publications.
D65 Suknaski, Andy. "Nevwlief: Newlove/Twin and Original." The Camrose Review: a journal of lutheran thought, No. 1 ([1982]), pp. 48-50.
Part article, part imaginary conversation with Nevwlief, Newlove's double, Suknaski discusses the doubleness in truth / invention and the "Bridge between the left and right hemisphere": "Nevwlief learns to be wary of one's dark self...." Nevwlief takes his "cue" from "the suffering servants in the tradition of DANIEL, the most gifted of dream interpreters.... Nevwlief possessed by etymon, noumenon, 'object of purely intellectual intuition' rooted in noos / the mind, apprehends one's place among things.... Nothing is exactly like something else. It's almost...an admission of failure to use metaphor." Suknaski also discusses the monster at the centre of the labyrinth who "is only oneself.... The unknown hidden self...is the autochthons / the autochthonous 'that springing from earth itself': Indian twin and original; whiteman, Amerindian in search where hybrid twofold self doubles as twin. However, Nevwlief's models are not so simple. There is one's own lineage, flesh and blood --serving as mythic mainspring too.... Something of named lost remains to redouble in the surviving poet/twin's search for ciphers that heal with an energy apprehending entropy." Suknaski discusses the alienation in terms of place or roots of the transient Prairie poet: "'I Am' implying I am of this earth, wherever I am. Enough to claim one's birthright. The ciphers of art are only approximate indications. Names, and illusion. What keeps the moral poet bedeviled the entropy of dopplegangers?"
D66 Suknaski, Andrew. "Out of Narayan to Bifrost / the Word Arresting Entropy." Brick, No. 14 (Winter 1982), pp. 12-14, 15.
"Newlove who thought he was only English...later finds out that Nevwlief/Newlove lineage ascends from autochthons: commingling of Roman, Celtic-Irish-Scotch; and Danishing Viking with Northern English." Out of Newlove's "binary images anchored in 'The Prairie'" and his "fears...these runnings away--would come the doppelganger images built on a vision of binaries that would immeasuably change western poetry. ...Newlove's Black Night Window had a marked influence on Barry McKinnon."
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Source: Lecker, Robert (compiler); . Part 1: Works On John Newlove, Toronto, Ontario : ECW Press, 1985. pp. 95-126 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06JNP2.
Item Number: ABCMA06JNP2000006002004008
Record: 338- Title:
- Part 2 Works On John Newlove; Selected book reviews; The Green Plain
- Other Title:
- Part 2 Works On John Newlove; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Lecker, Robert (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: NEWLOVE, John; NEWLOVE, John -- Criticism & interpretation -- Bibliography
Titles critiqued: GREEN plain (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Lecker, Robert (compiler) Part 1: Works On John Newlove.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 95-126)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06JNP2
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Source: Part 1: Works On John Newlove. Lecker, Robert (compiler); Toronto, Ontario : ECW Press, 1985, pp. 95-126
Part 2 Works On John Newlove; Selected book reviews; The Green Plain
Lecker, Robert (compiler)
D67 Denham, Paul. "Poetry Review: The Green Plain." NeWest Review, Jan. 1983, p. 14.
The amount of white space on the page directs the reader's attention "to the parts rather than the whole." Newlove's "handling of sound and image is worth lingering over, and his subject, which is the nature of the universe and man's place in it, demands that you take your time." Although allusions are made to Milton, "Newlove's lament for a paradise lost,...and his quest for a paradise regained, proceed on resolutely nontheistic, existentialist assumptions.... Out of the space between the black and green, the tension between darkness, futility, and ignorance, and nature's regenerative powers, emerges the poem."
D68 Levenson, Christopher. "Anti-Heaps and Arcana." Rev. of The T. E. Lawrence Poems, by Gwendolyn MacEwen; The Green Plain, by John Newlove; and Gradations of Grandeur, by Ralph Gustafson. Books in Canada, Feb. 1983, pp. 27-28.
"Newlove is speaking in...his own voice and in the form of an extended lyric. There are no breaks as such within the poem, although the generous spacing" emphasizes the stages and forces "one to concentrate on the individual line, even the individual word, rather than on the verse paragraph or the poem as a whole. Fortunately the texture can bear such scrutiny, for Newlove seems more aware perhaps than any other Canadian poet of the aural structure of poetry...." His irony is at times "savage," but he is "honest" and "writes with all his wits about him."
D69 Lee, John B. "Infinite Solitudes: Brightly Burning Fuse." Brick, No. 19 (Fall 1983), pp. 41-42.
The Green Plain "is a bitter-sweet little book of poems." The theme is "childhood's 'tangible vision of paradise' and the subsequent loss of that vision with Newlove himself as the spoiler.... Although at times the preface is a bit too precious, confessional and self-effacing...," it provides some insight into "a very solid if at times overly self-conscious series of poems." Thematically and stylistically, Newlove makes "wonderful use of paradox.... He sees man as an obtuse creature at best capable of accidental flashes of understanding which, being accidental, can't be trusted. There is a desire for symmetry in the design of things," but, in "the need to go past the predictability of such a vision of cause and effect," there is also a celebration of "the incongruous and unanticipated events of random existence. Myth and metaphor...help man realize a pattern in the universe, a sense of human communion, and a common language [but]...it [also] devalues our individuality." Newlove uses "powerful" images.
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D18 Barbour, Douglas. Rev. of The Elephant Girl, by S. G. Buri; The Poem Poem, by David McFadden; and What They Say, by John Newlove. The Canadian Forum, May 1968, pp. 44-45.
Barbour considers Newlove a Romantic "turning against an antiRomantic and un-natural civilization." Newlove "often writes poor poems," although the genre of "harsh, bare, and honest statement, pared of everything, image and metaphor," is difficult to write. Newlove's "sense of the sounds of words, of the subtle rhymes and half-rhymes which can strengthen the internal structure of a poem is quite good, as is his sense of rhythm."
D19 MacCallum, Hugh. "Letters in Canada: 1967. Poetry." University of Toronto Quarterly, 37 (July 1968), 378-79.
Newlove writes about "paralysis and moral impotence...but the dominant note is one of pity." The "combination of graceful, falling rhythms, brutal content, and ironic tone is often effective, but these poems are somewhat careless in comparison with the best of his earlier volume, Moving In Alone."
D20 Kilgallin, Tony. Rev. of If There Are Any Noahs, by Jim Brown; Total War, by Harry Howith; and What They Say, by John Newlove. Canadian Literature, No. 37 (Summer 1968), pp. 93-94.
A brief review which sees Newlove failing "at times to transmute the personal into the poetical." Most of the poems "fall short of his best."
D21 Scott, Peter Dale. "A Canadian Chronicle." Poetry [Chicago], 115 (Feb. 1970), 353, 360-61. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from the Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 377.
Newlove's "impartiality can be intimate as well as ruthless.... Occasionally, Newlove uses mannerisms from an older generation of Canadian ironists," but, "At his best, he goes straight to 'the root / of common penury for / all of us the same.'"
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Part 2 Works On Margaret Avison; Book, articles and sections of books, theses and dissertations, interviews, poems about Margaret Avison, and awards and honours; Articles and sections of books
Mansbridge, Francis (compiler)
C2 Smith, A. J. M. "Margaret Avison (1918- )." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and preface A.J. M. Smith. Toronto: Gage, 1943, p. 426. 2nd ed., 1948, p. 441. 3rd ed., 1957, p. 471.
Avison's poems reveal an "intensity of feeling," "the originality and sincerity of her reactions and experience." They are metaphysical, "passionate, intellectual, and essentially religious." Smith also includes brief biographical data.
C3 Frye, Northrop. "Canada and Its Poetry." The Canadian Forum, Dec. 1943, p. 210. Rpt. in The Making of Modern Poetry: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, p. 96. Rpt. in The Bush Garden: Essays on the Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, p. 142. Rpt. in Forum: Canadian Life and Letters 1920-70. Selections from The Canadian Forum. Ed. and preface J. L. Granatstein and Peter Stevens. Toronto: Univ. of Toronto Press, 1972, p. 220.
"Maria Minor" expresses the contact with nature as a menace which marks the best of Canadian poetry.
C4 Layton, Irving. Letter. The Canadian Forum, June 1945, p. 65.
Layton objects to Avison's review of his Here and Now (B167). She bases her views on the "weakest" poems in the book; her reaction is "purely personal." Lines from "The Swimmer," "Newsboy," and "Proof Reader" are quoted by Layton as evidence of his talents. Avison also responds to Layton (B187).
C5 Sutherland, John. "Introduction: The Old and the New. I--Mr. Smith and the 'Tradition.'" In Other Canadians: An Anthology of the New Poetry of Canada 1940-1946. Ed. John Sutherland. Montreal: First Statement, 1947, p. 10. Rpt. ("Introduction to Other Canadians") in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, p. 52. Rpt. ("Mr. Smith and the 'Tradition'") in Essays, Controversies and Poems. By John Sutherland. Ed. and introd. Miriam Waddington. New Canadian Library Original, No. 81. Toronto: McClelland and Stewart, 1972, p. 61.
Sutherland briefly notes that for A. J. M. Smith's establishment of the metaphysical tradition, Avison was "a definite find."
C6 Ghiselin, Brewster. "The Architecture of Vision." Poetry [Chicago], 70 (Sept. 1947), 324-28.
Ghiselin comments on Avison's poems "Geometaphysics" (B21), "The Iconoclasts" (B22), "The Party" (B23), "Perspective" (B24), and "Song but Oblique to '47" (B25), all published in the same issue of Poetry [Chicago] as Ghiselin's article. The central concern of these poems is "the order by which men live." Hers is a "poetry of ideas," with much focus on argument and exposition, although their value lies less in their ideas than in the "fullness and intimacy" with which these ideas are communicated. Ghiselin criticizes a tendency to generality in "The Party" and "Geometaphysics," but concludes that as a group these are "valuable poems."
C7 Pacey, Desmond. Creative Writing in Canada: A Short History of English-Canadian Literature. Toronto: Ryerson, 1952, p. 141. (Revised) 2nd ed., 1961, pp. 153, 240-41, 251.
Avison is concerned with "the fate of the individual entrapped in a mean mechanical world but yearning for freedom." Her poetry is deeply felt and deeply rooted in experience, communicating "an honest groping through darkness towards the light."
C8 Birney, Earle. Notes. In Twentieth Century Canadian Poetry: An Anthology. Ed. and introd. Earle Birney. Toronto: Ryerson, 1953, p. 153.
Avison's "Christmas" explores the "magic world of Christmas-cards."
C9 Frye, Northrop. "Preface to an Uncollected Anthology." Sec. II, The Royal Society of Canada, Toronto. 11 June 1956. Printed (expanded) in Studia Varia: Royal Society of Canada, Literary and Scientific Papers. Ed. G. D. Murray. Toronto: Univ. of Toronto Press, 1957, p. 35. Rpt. (abridged) in Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. Toronto: Gage, 1966, p. 523. Rpt. (expanded, original) in The Bush Garden: Essays on the Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, p. 179. Rpt. in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Patterns of Literary Criticism, No. 9. Chicago: Univ. of Chicago Press, 1971, p. 197. Rpt. in Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, p. 603. Rpt. in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Rev. ed. Toronto: Univ. of Toronto Press, 1977, p. 197.
"Neverness" is a key to the shaping myths of Avison's poetry.
C10 Daniells, Roy. "Literature: I. Poetry and the Novel." In The Culture of Contemporary Canada. Ed. Julian Park. Ithaca, N.Y.: Cornell Univ. Press, 1957, pp. 59-60.
Avison's work is "independent of identifiable sources," although allusions to Emily Bronte, Christina Rossetti, and Emily Dickinson are made. Her poetry is as "intense as Klein's" and is "a revelation of intense struggle and unrelenting pressures." Daniells hopes she will publish a book.
C11 Wilson, Milton. "Other Canadians and After." Association of Canadian University Teachers of English, Univ. of Alberta, Edmonton, Alta. June 1958. Printed in The Tamarack Review, No. 9 (Autumn 1958), pp. 90, 92. Rpt. in Masks Of Poetry: Canadian Critics on Canadian Verse. Ed. and introd. A. J. M. Smith. New Canadian Library Original, No. O3. Toronto: McClelland and Stewart, 1962, pp. 136, 138. Rpt. in Irving Layton: The Poet and His Critics. Ed. and introd. Seymour Mayne. Toronto: McGraw-Hill Ryerson, 1978, pp. 73-74, 76.
Avison is "difficult to classify," "most Canadian" in her "resistance to the civilized tapering perspectives" of post-Renaissance Europe, and her poetry ought to be collected.
C12 Dudek, Louis. "Patterns of Recent Canadian Poetry." Culture, 19, No. 4 (Dec. 1958), pp. 405-06. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry, in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, p. 277. Rpt. in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, p. 101.
Avison is "individualistic." She has published little and "her modernism...is eccentric, with roots in some foreign exotic soil." She exhibits "Toronto's tense straightjacket culture."
C13 Wilson, Milton. "The Poetry of Margaret Avison." Canadian Literature, No. 2 (Autumn 1959), pp. 47-58. Rpt. in A Choice of Critics: Selections from Canadian Literature. Ed. George Woodcock. Toronto: Oxford Univ. Press 1966, pp. 321-22.
While there is a great deal of thought in Avison's poetry, she is not primarily a "metaphysical" poet, being more concerned with the problems of perception and the comprehensiveness that can be achieved through juxtaposition of near and far. "No Canadian poet is better able to depict the clutter and savour of the urban or semi-urban here and now." Her poetry moves from the closed forms of work published before 1947 to later more open forms, which are also richer and freer in their use of material. "The prairie eye has come to terms not merely with the metropolitan skyline...but with the city's material refuse and richness as well." Her poetry has become "progressively less austere."
C14 Frye, Northrop. "Letters in Canada: 1959. Poetry." University of Toronto Quarterly, 29 (April 1960), 458. Rpt. (revised--"Letters in Canada: Poetry, 1952-1960: Valedictory") in Masks of Poetry: Canadian Critics on Canadian Verse. Ed. and introd. A. J. M. Smith. New Canadian Library Original, No. O3. Toronto: McClelland and Stewart, 1962, p. 106. Rpt. (revised, excerpt--"from 'Letters in Canada' University Of Toronto Quarterly: 1959") in The Bush Garden: Essays on the Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, p. 124.
Frye briefly notes that Avison and others "have not received their due of attention only because no published volume has been available to the present writer."
C15 Smith, A. J. M. "Eclectic Detachment: Aspects of Identity in Canadian Poetry." Canadian Literature, No. 9 (Summer 1961), pp. 6, 12. Rpt. in Towards a View of Canadian Letters: Selected Critical Essays 1928-1971. By A. J. M. Smith. Vancouver: Univ. of British Columbia Press, 1973, pp. 22, 28.
Avison is cited as one of those Canadian poets who exemplify the "eclectic detachment" which marks the best of Canadian poetry.
C16 Finnigan, Joan. "Canadian Poetry Finds Its Voice in a Golden Age." The Globe Magazine [The Globe and Mail] [Toronto], 20 Jan. 1962, p. 12. Rpt. ("Joan Finnigan") in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 235-40.
Avison's "difficult" poetry was a highlight of the 1960 poetry readings at Isaacs Gallery, Toronto.
C17 Pacey, Desmond. "Contemporary Canadian Poetry (1962)." The Canadian Forum, April 1962, p. 18. Rpt. in Essays in Canadian Criticism 1939-1969. By Desmond Pacey. Toronto: Ryerson, 1969, p. 217.
Avison's "vision is distinctive, her attitude is consistent and sure."
C18 Birney, Earle. "CPM, 27: 1946-1948." Canadian Author & Bookman, 39, No. 2. (Winter 1963), 4. Rpt. ("Canadian Poetry Magazine 1946-48: Retrospective Article") in Spreading Time: Remarks on Canadian Writing and Writers, Book I: 1904-1949. By Earle Birney. Montreal: Vehicule, 1980, p. 128.
Birney wishes "we could claim to have printed also by 1948, Avison and Layton (at least we didn't turn them down)...."
C19 "Margaret Avison (1918- )." In Ecrivains Canadiens/Canadian Writers: A Biographical Dictionary. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Toronto: Ryerson, 1964, p. 4. Rpt. in Canadian Writers/Ecrivains Canadiens: A Biographical Dictionary. Rev. and enl. ed. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Toronto: Ryerson, 1966, p. 4.
Avison's poetic vision is original and beautiful. Paradoxically, Avison "has reached the universal through a microscopic and even blinkered view of the subjective and personal."
C20 Woodcock, George. "Away from Lost Worlds." In On Contemporary Literature. Ed. and introd. Richard Kostelanetz. New York: Avon, 1964, pp. 100, 107. Rpt. (revised--"Culture and the Death of Colonialism") in Canada and the Canadians. By George Woodcock. Toronto: Oxford Univ. Press, 1970, p. 254. Rpt. (revised--"Away from Lost Worlds: Notes on the Development of a Canadian Literature") in Odysseus Ever Returning: Essays on Canadian Writers and Writing. Ed. George Woodcock. Introd. W. H. New. New Canadian Library, No. 71. Toronto: McClelland and Stewart, 1970, pp. 4, 10. Rpt. in Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, pp. 212, 218.
Woodcock briefly notes that Avison's metaphysical and religious stance and her vigorous selfcriticism make her "stand apart," even among Toronto poets. He also notes the importance of Contemporary Verse and Northern Review in the poetic emergence of the group of poets which includes Avison.
C21 Beattie, Munro. "Poetry: 1950-1960." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 808-11. 2nd ed., 1976. Vol. II, 320-23.
Avison is her generation's "one true heir of E. J. Pratt" in her use of time and space and her "zest for the wonder of things as they are; although, unlike him, she rarely employs regular metre, her handling and selection of words resemble his." No other Canadian poet's imagination is as energized "by the satisfaction and observations of everyday existence." Her poems show the surprising "breadth of her sympathies" and are optimistic.
C22 Frye, Northrop. "Conclusion." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, p. 844. Rpt. in The Bush Garden: Essays on the Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, p. 244.
Avison's poem "Identity" typifies the elegiac and lonely tone of much Canadian poetry.
C23 Jones, D. G. "The Sleeping Giant, or the Uncreated Conscience of the Race." Association of Canadian University Teachers of English, Univ. of British Columbia, Vancouver, B.C. June 1965. Printed in Canadian Literature, No. 26 (Autumn 1965), pp. 6-7, 14, 19. Rpt. in A Choice of Critics: Selections from Canadian Literature. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1966, pp. 7, 22-23. Rpt. in Butterfly on Rock: A Study of Themes and Images in Canadian Literature. By D. G. Jones. Toronto: Univ. of Toronto Press, 1970, pp. 16, 23, 30.
Contrary to the views of such critics as W. P. Wilgar, Warren Tallman, and T. E. Farley, Canadian literature is not predominantly negative. Avison's "Neverness or The One Ship Beached on One Far Distant Shore" is, however, a negative expression of the images of Adam, Ark, and Mountain. The image of an Adam in exile relates to Ernest Buckler's The Mountain and the Valley. "The Local and the Lakefront" reveals the illusions of our society, "asking us to recognize that we have created nothing that is authentically ours."
C24 McPherson, Hugo. "Canadian Literature: Present Declarative." English, 15 (Autumn 1965), 214.
Avison's Winter Sun, somewhere between the works of Irving Layton and Jay Macpherson, is "an altogether original and exciting experience."
C25 Watters, R. E. "Margaret Avison (1918- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. Rev. ed. Toronto: Gage, 1966, p. 560. (Revised) 3rd ed., 1974, p. 651.
Watters includes brief bibliographical data, including secondary sources.
C26 Klinck, Carl F., and Reginald E. Watters. "Margaret Avison (1918- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. Rev. ed. Toronto: Gage, 1966, p. 434. 3rd ed., 1974, p. 447.
Brief biographical data.
C27 Watters, Reginald Eyre, and Inglis Freeman Bell. On Canadian Literature 1806-1960: A Check List of Articles, Books and Theses on English-Canadian Literature, Its Authors and Language. Toronto: Univ. of Toronto Press, 1966, pp. 38, 72.
Brief bibliographical data.
C28 Smith, A. J. M. Host. Anthology. Prod. Peter Donkin. CBC Radio, 1 Dec. 1966.
After discussing Avison's publishing history, Smith concludes that The Dumbfounding is one of the "richest, most original, and most fully and deeply engaged book of poetry published by a Canadian since the Modern movement got underway a score of years ago." Despite the influences of Hopkins and Herbert, Avison's poetry has a "gritty" texture that gives "a sense of immediacy to her recordings of experience and her reactions to it." This texture is especially evident in her nature poems. Avison also reads a few poems (B198-B201).
C29 "Avison, Margaret 1918- ." In Contemporary Authors: A Bio-Bibliographical Guide to Current Authors and Their Works. Ed. James Ethridge and Barbara Kopala. Vols. VXII-XVIII. Detroit: Gale, 1967, 33. Rpt. (expanded) in First Revision. Ed. Clare D. Kinsman. Vols. XVII-XX. Detroit: Gale, 1976, 42.
Brief bio-bibliographical data.
C30 Story, Norah. "Avison, Margaret (1918- )." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, p. 43.
Avison "shows an ability to convey concepts of time and space that has made her one of the most significant voices in modern Canadian poetry."
C31 Purdy, Al. "Canadian Poetry in English since 1867." Journal of Commonwealth Literature, No. 3 (July 1967), p. 29.
"Formidably difficult," Avison is "an experimentalist in language and thought."
C32 Jones, Laurence M. "A Core of Brilliance: Margaret Avison's Achievement." Canadian Literature, No. 38 (Autumn 1968), pp. 50-57.
On 4 January 1963 Margaret Avison experienced a religious conversion which, according to Jones, made possible a greater depth and consistency to the poems published in The Dumbfounding. Discussion of poems including "Person," "The Dumbfounding," and "Branches" suggests that the centre of her poetry in The Dumbfounding is her consciousness of Christ's presence, which irradiates even those poems that are not explicitly religious. Avison's spiritual conversion has imparted to her poetry "a hard core of brilliance."
C33 New, William H. "A Wellspring of Magma: Modern Canadian Writing." Twentieth Century Literature, 14 (Oct. 1968), 126-27.
Avison's poetry is discussed briefly as illustrative of the frequent Canadian concern for paradox.
C34 Geddes, Gary. "Margaret Avison (b. 1918)." In 20th Century Poetry and Poetics. Ed. Gary Geddes. Toronto: Oxford Univ. Press, 1969, pp. 575-76. 2nd ed., 1973, p. 616.
Avison's poetry has affinities with that of the seventeenth-century metaphysical poets. The Dumbfounding is more concrete and humble than the more austere Winter Sun.
C35 Manning, Gerald. "Margaret Avison's 'Perspective': An Interpretation." Quarry, 18, No. 2 (Winter 1969), 21-24.
This reading of Margaret Avison's "Perspective" pays close attention to the ways in which her multi-levelled use of language presents "two contrasting ways of seeing." The conclusion, with its "disturbing note of pessimism," raises the poem beyond a simple contrast to develop "the full implication of vision as creative imagination."
C36 Dudek, Louis. "2. Poetry in English." Canadian Literature, No. 41 (Summer 1969), p. 118. Rpt. in The Sixties: Writers and Writing of the Decade. A Symposium to Celebrate the Tenth Anniversary of Canadian Literature. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, p. 118. Rpt. in Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, p. 264. Rpt. ("Poetry of the Sixties") in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, pp. 278-79.
Margaret Avison is one of a number of poets who possesses a sophistication that popular poets like Irving Layton lack, although they in turn lack his "visceral vitality."
C37 Geddes, Gary, and Phyllis Bruce. "Margaret Avison." In 15 Canadian Poets. Ed. Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1970, pp. 266-68. Rpt. in 15 Canadian Poets Plus 5. Ed. Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1978, pp. 379-80.
Avison is a philosophical, rather than descriptive, poet; like T. S. Eliot she uses the past to explore the present, developing towards a religious vision. Her later poetry is more concrete and less rhetorical. The editors include a brief statement by Avison on her poetics.
C38 Jones, D. G. Butterfly on Rock: A Study of Themes and Images in Canadian Literature. Toronto: Univ. of Toronto Press, 1970, pp. 137, 139, 164, 165, 179-80.
"Neverness or The One Ship Beached on One Far Distant Shore" embodies through the figure of Adam the unrealized Canadian identity. "The Local & the Lakefront" expresses the need to create our own identity. Later poems, such as "The Word," communicate a sacrificial view of life, harsh but optimistic. "A Story" recovers the past in modern speech. Avison is "meticulous in making an inventory of her immediate highly urban and technical world."
C39 Smith, A. J. M. "Avison, Margaret (Kirkland)." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. New York: St. Martin's, 1970, pp. 42-44. Rpt. in Contemporary Poets. Rev. ed. Ed. James Vinson. New York: St. Martin's, 1975, pp, 49-50. 3rd ed., 1980, pp. 52-53.
Avison is an original poet, partly through her visual stylistic boldness, but also through her other senses and her metaphysical perceptiveness. Her religious poetry stands with that of Hopkins and Eliot.
C40 Mandel, Eli. "Modern Canadian Poetry." Twentieth Century Literature, 16 (July 1970), 177. Rpt. in Another Time. By Eli Mandel. Three Solitudes: Contemporary Literary Criticism in Canada, No. 3. Erin, Ont.: Porcepic, 1977, p. 83.
In a discussion of the "place the poet occupies," Mandel mentions the "curious one implied" in "Meeting Together of Poles and Latitudes (In Prospect)."
C41 New, William H. "The Mind's Eyes (I's), (Ice): The Poetry of Margaret Avison." Twentieth Century Literature, 16 (July 1970), 185-202. Rpt. in Articulating West: Essays on Purpose and Form in Modern Canadian Literature. By William H. New. Three Solitudes: Contemporary Literary Criticism in Canada, No. 1. Toronto: new, 1972, pp. 234-58. Rpt. (abridged) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley. Vol. IV. Detroit: Gale, 1975, 36.
New discusses Avison's few contributions to a few particular magazines and her early inclusion in A. J. M. Smith's 1943 The Book of Canadian Poetry: A Critical and Historical Anthology and Ralph Gustafson's 1958 Penguin anthology. Discussing the function of her technique, particularly her puns, New notes that "At once amused and afraid, the poet strives for order and finds chaos, looks for absolutes and finds moments--but then artistically presents those moments which the shifting point of view of eye and ear bring into her ken." New discusses the similarity of Avison's works to Projective Verse in that "in a Heraclitean universe, nothing is stable, and therefore what is perceived also changes, altering the perception and so the perceiver." Avison "was in the process of following a metaphysical path, but before the 1960's lay a period of more disruption, of struggle and doubt, and of more dislocation of language." For Avison, "...the 'uncorrupted' poem, logically, should allow structure to exist; it lives within its structure, provided that structure does not limit the multiple possibilities of language." Although Winter Sun "explored the possibilities of breaking out of boxes...it is not until The Dumbfounding that we are particularly forcibly reminded of [George] Herbert's poetry.... Like Herbert...Avison does not in these later religious poems show herself in the midst of conflict; the conflict is resolved, and the poems speak in the past tense or of the fulfilled present."
C42 Djwa, Sandra. "Canadian Poetry and the Computer." Canadian Literature, No. 46 (Autumn 1970), pp. 44, 45, 54.
When Avison's work is entered on a computer, the frequency of the word "sun" indicates its metaphoric significance. Considering her work in the context of Canadian poetry will help in understanding her "preoccupation with the technical terms of space." (See C102.)
C43 Reference Division, McPherson Library, University of Victoria, B.C., comp. "Avison, Margaret* 1918- ." In their Creative Canada: A Biographical Dictionary of Twentieth Century Creative and Performing Artists. Vol. I. Toronto: Univ. of Toronto Press, 1971, 15.
Includes biographical and bibliographical data.
C44 Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, pp. 65, 246.
"Snow" provides Atwood with her title for Chapter xii: "Jail-Breaks and Re-creations." The opening lines of this sonnet suggest that, if we take an active view, we can escape into a new way of describing our world.
C45 Lee, Dennis. "Modern Poetry." In Read Canadian: A Book about Canadian Books. Ed. Robert Fulford, David Godfrey, and Abraham Rotstein. Introd. Robert Fulford. Toronto: James Lewis and Samuel, 1972, p. 232.
"Avison's austere, surefooted craft is very deeply meditated." She writes about "the spiritual life" with "the understatement that comes from direct experience."
C46 Watters, Reginald Eyre. "Avison, Margaret Kirkland, 1918- ." In his A Checklist of Canadian Literature and Background Materials, 1628-1960. 2nd ed. Toronto: Univ. of Toronto Press, 1972, p. 10. Brief bibliographical data.
C47 Redekop, Ernest. "The Only Political Duty: Margaret Avison's Translations of Hungarian Poems." The Literary Half-Yearly [Univ. of Mysore, India], [Canadian Number], 13, No. 2 (July 1972), 157-70.
A number of Canadian poets collaborated with translators Ilona Duczynska and Karl Polanyi to create renderings in English of Hungarian writing which were published in The Plough and the Pen: Writings from Hungary 1930-1956. Avison contributed eight poems to this volume (B111-B117 and B126) and published a ninth ("Of Tyranny, in One Breath") in The Dumbfounding. Redekop traces similarities in theme and imagery between her own poetry and the translations, suggesting that there has been poetic cross-fertilization working both ways between her poetry and the translations. In these translations she "reveals a luxurious passion for words and sounds," although all are deeply concerned with the relevance of art to a repressive society. These poems have "made possible a new perspective on our society."
C48 Shain, Merle. "Some of Our Best Poets Are Women." Chatelaine, Oct. 1972, pp. 103, 104.
Shain makes general comments on Avison's craftsmanship, her "saintly" nature, and the personal impression she made on the interviewer. Includes "Riding and Waves" (B64).
C49 Denham, Paul. Introduction. In The Evolution of Canadian Literature in English: 1945-70. Ed. Paul Denham. Preface Mary Jane Edwards. Toronto: Holt, Rinehart and Winston, 1973, pp. 8, 9.
Avison is noted for her uniqueness and her experimentation with concrete poetry.
C50 Gnarowski, Michael. "Avison, Margaret, 1918- ." In his A Concise Bibliography of English Canadian Literature. Toronto: McClelland and Stewart, 1973, p. 11. 2nd rev. ed., 1978, p. 12. Bibliographical data.
C51 Strickland, David. "Quotations" from English Canadian Literature. Modern Canadian Library. Toronto: Pagurian, 1973, pp. 52, 126, 145, 154, 166.
Avison's works are quoted under the categories "Evil," "Pleasure," "Society," "Time," and "Words."
C52 T[oye]., W[illiam]. E. "Margaret Avison (1918- )." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 7-8.
Toye includes a biographical note and emphasizes Avison's ability to combine "shifting perspectives" and "disparate images."
C53 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 9, 13, 140, 146-47.
Avison is among those Moderns who "need to relate in a fresh and creative way to natural forms," who move "into the world arena," and who explore "myth and archetypes."
C54 Jones, D. G. "Myth, Frye and Canadian Writers." Canadian Literature, No. 55 (Winter 1973), p. 11.
Avison's "Perspective" is an example of how the work of most Canadian artists is corroded by doubt.
C55 Bowering, George. "Avison's Imitation of Christ the Artist." Canadian Literature, No. 54 (Autumn 1973), pp. 56-69. Rpt. (abridged) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Artists. Ed. Carolyn Riley and Barbara Harte. Vol. II. Detroit: Gale, 1974, p. 29. Rpt. (expanded, original) in A Way with Words. By George Bowering. Ottawa: Oberon, 1982, pp. 5-23.
While Bowering focuses his discussion on the poems in The Dumbfounding, he is the first critic to place them in the context of Avison's poetry as a whole, showing how her approach to art has always been spiritual. She is "the most artfully daring" of Canadian poets. In Avison's attempt to transcend the limitations of perspective and a chronological view of history, her poetry strives to imitate Christ. Time and space are human categories which distort our vision of the world and of Christ, giving the human being a false illusion of his centrality. As both poet and person, Avison participates in, rather than controls, reality. Her art reflects the humility of Christ; both artist and Christ must sacrifice their identities in order to achieve their highest fulfillment. Christ is the supreme artist. Like Christ, the artist must strive to "make new" those parts of society rejected by the majority. This article demonstrates the links between her work and Post-Modernist poetry, in which the artist must "participate, not dominate."
C56 Davey, Frank. "Margaret Avison (1918- )." In his From There to Here: A Guide to English Canadian Literature since 1960. Vol. II of Our Nature--Our Voices. Erin, Ont.: Porcepic, 1974, pp. 37-40.
Winter Sun is stylistically conservative and full of despair; its complex use of language and myth suggests affinities with such Canadian poets as A. J. M. Smith and Jay Macpherson. This earlier poetry of despair and alienation gives way in The Dumbfounding to a more positive vision, largely because of Avison's experience of the immanence of God. Her style in this book is more natural and colloquial; more recent poems continue this line of development to a more natural and authentic form of expression.
C57 Doerksen, D. W. "Search and Discovery: Margaret Avison's Poetry." Canadian Literature, No. 60 (Spring 1974), pp. 7-20. Rpt. in Poets and Critics: Essays from Canadian Literature 1966-1974. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1974, pp. 123-37. Rpt. (abridged) in Contemporary Literary Criticism: Excerpts from Criticism of the Work of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley. Vol. IV. Detroit: Gale, 1975, 36-37.
This thematic study suggests that the search for spiritual reality in Winter Sun ends with spiritual discovery in The Dumbfounding; these complementary states unify her work. Perspectives in her early work range from gentle speculation in such poems as "The Apex Animal" to a despairing note in "The Fallen, Fallen World." In some early poems including "Intra-Political: An Exercise in Political Astronomy" and "Our Working Day May Be Menaced," a more positive religious attitude is foreshadowed. But it is in The Dumbfounding that Avison's Christian belief causes her to see the world transformed, leading to a dynamic rather than static vision of the universe.
C58 Jones, D. G. "Cold Eye and Optic Heart: Marshall McLuhan and Some Canadian Poets." Modern Poetry Studies, 5 (Autumn 1974), 175, 178-79, 181-82, 183, 184, 185, 186.
Marshall McLuhan, unlike Northrop Frye, emphasizes the perceptions particular to our age, and a corresponding shift from the eye to the other senses. Many recent poets, especially P. K. Page, Margaret Avison, and Margaret Atwood, downplay the role of the eye in ordering their poetic world. For Avison, the danger of vision forming the base of our culture stems from the development of perspective in Renaissance painting. The poet must reject diseased perspective and recover the healthy vision, which for Avison can be achieved only through the acceptance of Christ.
C59 Farley, T. E. Exiles and Pioneers: Two Visions of Canada's Future 1825-1975. Ottawa: Borealis, 1976, pp. 136, 145.
Winter Sun inverts the usual archetypal image of the sun as giver of life. In this poetry "man is trapped by determinism, and the result is apathy."
C60 McCullagh, Joan. Alan Crawley and Contemporary Verse. Foreword Dorothy Livesay. Vancouver: Univ. of British Columbia Press, 1976, pp. 32, 46, 49.
McCullagh includes part of a letter from Avison to Alan Crawley, dated 14 June 1952, in which she talks of her frustrations at having insufficient time for writing.
C61 Merrett, R. J. "'The Ominous Centre': The Theological Impulse in Margaret Avison's Poetry." White Pelican, 5, No. 2 (1976), 12-24.
Avison's poetry, particularly her later work, reveals "a sympathy with modern theology's efforts to rediscover the sacramental in ordinary human experience." Merrett indicates through a discussion of a number of poems Avison's deep understanding of the "ontological crisis." The poems are informed by an awareness of the attempts of modern theology "to achieve new grounds for the holiness of being" which comprehend the fragmentary nature of modern life.
C62 Seymour-Smith, Martin. "Margaret Avison." Who's Who in Twentieth Century Literature (1976).
Female, but not feminine, Avison combines "intellectual rigour with an excellent grasp of form."
C63 Neufeld, James. "Some Pivot for Significance in the Poetry of Margaret Avison." Journal of Canadian Studies, 11, No. 2 (May 1976), 35-42.
Neufeld discusses the theme of Avison's search for a "pivot for significance." Her early poetry often takes a pessimistic view of man's place in the world; if man is not able to define space, it overwhelms him. Some poems in Winter Sun such as "Hiatus" and especially "New Year's Poem" suggest the beginnings of an affirmative vision which is fulfilled in The Dumbfounding. This development has been aided through her religious conversion; in Christ man can find the "necessary pivot for significance." While Avison acknowledges man's limitations, her best poetry demonstrates that even a modest space can be significant for human dignity.
C64 Cohn-Sfectu, Ofelia. "Margaret Avison: The All-Swallowing Moment." English Studies in Canada, 2 (Fall 1976), 339-44.
Avison's poetry embodies a "system of beliefs which permits the poet to organize human experience meaningfully around a spiritual centre." In many of her poems she conveys the sacredness of the moment which can lead to spiritual transformation. With the addition of love, life can acquire "consistency and constancy." In spite of the rigid, life-denying structures of our society, the individual can reshape his life in freedom and love.
C65 Moisan, Clement. "Rina Lasnier et Margaret Avison." Liberte, 18, No. 6 (nov.-dec. 1976), 21-33. Rpt. (abridged--"Poesie de la clandestinite: Rina Lasnier--Margaret Avison") in Poesie des frontieres: etude comparee des poesies canadienne et quebecoise. By Clement Moisan. Collection constantes, No. 38. Quebec: Hurtubise HMH, 1979, pp. 115-27. Rpt. ("Poetry of Clandestiny: Rina Lasnier--Margaret Avison") in A Poetry of Frontiers: Comparative Studies in Quebec Canadian Literature. By Clement Moisan. Trans. George Lang and Linda Weber. Victoria: Porcepic, 1983, pp. 64-74.
Moisan compares the poetic works of Rina Lasnier and Margaret Avison and discovers that their affinities, as well as their differences, clarify each other. The two poets present a religious dimension that issues from the experience of total truth, from a "connaissance intime du visible comme de l'invisible." Their works interpret their own essence, a symbiosis of the profane and the sacred, a curious mix that guarantees the dialectic of serenity and anxiety. Love is the base of their interior voyages, which are animated by a spiritual vision that has been said to pierce appearances and rejoin the heart of things. The stylistic differences between the two authors are noted as well as the difference in orientation of their search for truth. Rina Lasnier examines her own reality for the enigmatic key, while Margaret Avison, contrarily, leans toward finding this in the universe.
C66 Frye, Northrop. "Haunted by Lack of Ghosts: Some Patterns in the Imagery of Canadian Poetry." In The Canadian Imagination: Dimensions of a Literary Culture. Ed. and introd. David Staines. Cambridge, Mass.: Harvard Univ. Press, 1977, pp. 38-39.
In his discussion of the isolation and alienation in the "mindless emptiness" of the vast Canadian landscape, Frye cites a passage from Avison's "Identity," noting that it shows an "identity driven into a last stand of such total isolation that it can define itself only by extinction, unless it can make some effort of rebirth."
C67 McClung, M. G. Women in Canadian Literature. Preface George Woodcock. Women in Canadian Life. Toronto: Fitzhenry & Whiteside, 1977, p. 42.
Avison "has come to social work not from the left-wing political framework that inspired Dorothy Livesay and Miriam Waddington, but from religious conviction."
C68 Reeves, John. "John Reeves: Photojournalist." Toronto Life: Photography Guide, Spring 1977--Toronto Life, May 1977, p. 25. Rpt. (revised--"Literary Portraits: Margaret Avison") in Canadian Fiction Magazine, Nos. 34-35 (1980), pp. 74-75.
A black-and-white photograph of Avison. The revised reprint also contains a brief note. Reeves's "Literary Portraits" is also available as an offprint from Canadian Fiction Magazine.
C69 Reigo, Ants. "Margaret Avison and the Gospel of Vision." CV/II, 3, No. 2 (Summer 1977), 14-19.
Reigo explicates Avison's sonnet "Snow," objecting to Ernest Redekop's overly literal reading of the poem in his book. No doubt this article helped foster the critical debate which occurred soon after in the pages of Studies in Canadian Literature (C75-C76, C82-C83, and C87)and was augmented by Linda Hutcheon's article in the Dalhousie Review (C85). According to Reigo, the poem proceeds impressionistically, but is "governed by a realistic impulse." The scene described is an occasion for spiritual rebirth, which leads Reigo to object to D. W. Doerksen's schematic division of Avison's poems into pre-and post-conversion categories (see C57). With the possible exceptions of the uncollected poems of the forties, Reigo sees her poems as generally conveying a spiritual view of life.
C70 Zezulka, J. M. "Refusing the Sweet Surrender: Margaret Avison's 'Dispersed Titles.'" Canadian Poetry: Studies, Documents, Reviews, No. 1 (Fall-Winter 1977), pp. 44-53.
This article is an explication of Avison's "Dispersed Titles," whose theme is scientific humanism and its consequences. Beginning with Tyco Brahe in the sixteenth century, man has become displaced from his position at the centre of the universe. Avison searches out grounds for belief in an age of science; although beset by doubt, she does not give way to despair.
C71 Mansbridge, Francis. "Margaret Avison: A Checklist." Canadian Library Journal, 34 (Dec. 1977), 431-36.
This checklist served as the basis for the present bibliography of Margaret Avison. It includes an overview of Avison's work and a list of works by and about Avison to the end of 1976. Brief annotations of articles and sections of books on Avison are included.
C72 Stevens, Peter. "Avison, Margaret Kirkland (1918- )." In his Modern English-Canadian Poetry: A Guide to Information Sources. Vol. XV of American Literature, English Literature and World Literatures in English. Detroit: Gale, 1978, pp. 13, 20, 107-09.
Stevens includes bio-bibliographical information and notes that "Her poetry is densely textured, using a language at times craggy, at times metaphysical." Her poems are often based on the ordinary, but she shifts "historical and visual perspectives." Avison's work has become increasingly religious.
C73 Mallinson, Jean. "Ideology and Poetry: An Examination of Some Recent Trends in Canadian Criticism." Studies in Canadian Literature, 3 (Winter 1978), 99-100.
Frank Davey is criticized, along with John Bentley Mays and George Amabile, for the ways in which his ideological preconceptions lead him to misjudge literature. In From There to Here: A Guide to English Canadian Literature since 1960 (C56) he exaggerates the stylistic difference between Winter Sun and The Dumbfounding. On the contrary, argues Mallinson, Avison's "authentic voice in its individual syntax speaks clearly from the beginning."
C74 Cohn-Sfectu, Ofelia. "To Live in Abundance of Life: Time in Canadian Literature." Canadian Literature, No. 76 (Spring 1978), pp. 25-36.
Most Canadian writers belie the conventional view of Canadian literature as gloomy and pessimistic. F. P. Grove, Al Purdy, Margaret Avison, Hubert Aquin, and Mordecai Richler are examined according to their diverse views on how time may be used to serve a "meaningful human existence." Like Purdy, Avison attempts to achieve a balance between the subjective and the objective views of time. Both use the tree as a central symbol. For Avison it represents man's efforts to emerge from mundane reality to a "world of vision." Through love, time can be transformed "from isolated moments to authentic duration."
C75 Taylor, Michael. "Snow Blindness." Studies in Canadian Literature, 3 (Summer 1978), 288-90.
Taylor responds to Francis Zichy's article (C76), particularly his explication of "Snow." Taylor considers the opening lines of this sonnet the only straightforward ones in the poem. "Zichy chooses...to make much of what needs it least." Taylor does not find the "intrusive violence" in the opening lines that Zichy did. He argues that Zichy insists on "organic unity" at the expense of "logic and common sense."
C76 Zichy, Francis. "Each in His Prison / Thinking of the Key: Images of Confinement and Liberation in Margaret Avison." Studies in Canadian Literature, 3 (Summer 1978), 232-43.
Zichy discusses a number of Avison's poems which, in his view, enact a dialectical struggle between images of confinement and liberation. The opening lines of "Snow" are a striking declaration "of the need for a personal effort at liberation." A detailed examination of this sonnet reveals the ambivalence of the poet toward what she perceives. "Perspective" illustrates the relation between confinement and liberation even more directly; as in "Snow," there is here a "volatile interplay of desire and fear." Both poems attempt to cast off a conventional perspective which has led to a terrifying vision of life. Zichy provides slightly shorter explications of "The Valiant Vacationist" and "Voluptuaries and Others" from this perspective. This last poem reaches a new definition of the relation between self and world as a "constantly re-negotiated relation in which there is for the self neither conquest nor defeat." "Person, or A Hymn on and to the Holy Ghost" and other poems from The Dumbfounding transcend the ironies of attempts at self-assertion through the use of religious paradox. This article touched off a flurry of critical debate in the pages of Studies in Canadian Literature, centring mainly on Zichy's comments on the opening lines of "Snow." (See C75, C82-C83, and C87.)
C77 Marshall, Tom. Harsh and Lovely Land: The Major Canadian Poets and the Making of a Canadian Tradition. Vancouver: Univ. of British Columbia Press, 1979, pp. xii, xiv, 20, 58, 71, 75, 77, 78, 90, 92, 107, 109, 110, 111, 112, 115, 119, 128, 150, 154, 168, 171, 172, 174, 176, 177, 178, 179.
Avison is compared to a number of poets, especially Al Purdy and P. K. Page for their religious, "Heraclitean sense," which incorporates the "continuity of inner and outer worlds." This leads to a "greater openness to and acceptance of the beautiful and terrifying universe in flux." Her free verse is appropriate to the Canadian "stretching space and multiple perspective." She affirms "the automony and creativity of the human mind." "Exuberant metaphor articulates a basic human (and...extra-human) unity in diversity." She offers a large "span of consciousness" in time and is "able, emotionally and technically, to be 'proprioceptive' or not" as she pleases.
C78 Moisan, Clement. Poesie des frontieres: etude compare des poesies canadienne et quebecoise. Collection constantes, No. 38. Quebec: Hurtubise HMH, 1979, p. 16, 77, 91, 101n., 239n., 285, 294, 297, 298, 300, 324, 327. Rpt. A Poetry of Frontiers: Comparative Studies in Quebec / Canadian Literature. By Clement Moisan. Trans. George Lang and Linda Weber. Victoria: Porcepic, 1983, pp. 34-35, 171, 183, 190, 193, 207.
Moisan compares Margaret Avison with Rina Lasnier, stating that both perceive poetry as an effort to "resolve conflicts"; both use the image of the swimmer to express reconciliation. For both, the city is a negative force, but "Vision...examines the secret and sacred realms of being" in their poetry, finding in love the remedy for loneliness and death. Their main differences lie in style, with Lasnier being more "old-fashioned" and her persona more passive than Avison's. Both are engaged on the "same quest, to know the part of the 'self' which continually eludes us."
C79 Pacey, Desmond. Essays: Canadian Literature in English. Ed. and preface A. L. McLeod. Foreword H. H. Anniah Gowda. Powre above Powres, No. 4. Mysore, India: Centre for Commonwealth Literature and Research, Univ. of Mysore, 1979, pp. 131, 134-35, 136.
Avison is grouped among the older generation of "poets of Ontario." Avison "is almost the opposite" of Al Purdy, but they are both "deeply aware of human frustration" and affirm "the efficacy of the human will to love and man's readiness to suffer and endure." Avison is introverted, "intense and sad," "obscure and cryptic," has a "deeply Christian vision." Her output "has been exiguous but of a high quality." The Dumbfounding emphasizes "the nightmarish quality of the natural world," with occasional "reassuring glimpses." She "celebrates her conversion from a nominal to a real Christianity and exults in the new freedom.... The texture of the verse, however, does not dramatically change...." She is "cerebral" and "disciplined." Like James Reaney, Avison finds "affirmation in the Christian religion."
C80 Redekop, Ernest. "Margaret Avison." In Commonwealth Literature. Ed. James Vinson. Introd. William Walsh. London: Macmillan, 1979, pp. 24-25.
Avison is concerned with the power of the imagination to see beneath the surface of nature and the city, the necessity of restructuring language to accomplish this goal, and the ways her Christian poetry suggests the possibility of rebirth.
C81 Woodcock, George. "Poetry." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1979, Vol. III, 314.
Avison was "slow to collect" her works. "From the beginning her poems were uncompromisingly dense and difficult, seeking complex metaphysical solutions, and in her second volume especially her profoundly religious and visionary inclination becomes dominant."
C82 Lecker, Robert. "Exegetical Blizzard." Studies in Canadian Literature, 4 (Winter 1979), 180-84.
This discussion of "Snow" responds to previous articles by Francis Zichy (C76) and Michael Taylor (C75). Lecker objects to Zichy's "incoherence" and Taylor's avoidance of suggesting any better alternate readings. According to Lecker's reading, the sonnet describes "our ability to use imagination as a means to visionary creation." It invites the reader to participate in a newly envisioned world, but, in the sestet, suggests that the reader or listener it invokes will not be able to experience the world in such an imaginative fashion.
C83 Pollock, Zailig. "A Response to Michael Taylor's 'Snow Blindness.'" Studies in Canadian Literature, 4 (Winter 1979), 177-79.
As part of the debate focusing on Avison's sonnet "Snow," Pollock's article replies to Michael Taylor's criticism (C75) and Francis Zichy's article (C76). Pollock agrees with Zichy's reading of the opening lines of "Snow," regarding Taylor's reading as overly simplistic. Avison's approach to the world around her is characterized by a complex interaction of "escape into" and "escape from" the world.
C84 Marshall, Tom. "Major Canadian Poets IV: Margaret Avison." The Canadian Forum, March 1979, pp. 20-33. Rpt. (revised) in Harsh and Lovely Land: The Major Canadian Poets and the Making of a Canadian Tradition. By Tom Marshall. Vancouver: Univ. of British Columbia Press, 1979, pp. 99-106.
Marshall views Avison's work primarily in the context of Canadian literature, particularly in relation to the garrison-wilderness theme. Her use of "shifting perspective" makes it possible for her to be at home in both garrison and wilderness, while her energy and sense of struggle recalls Pratt. Avison shares with Al Purdy the position of the most significant English-Canadian poet. Both have developed a genuinely "Canadian idiom."
C85 Hutcheon, Linda. "'Snow Storm of Paper': The Act of Reading in Self-Reflexive Canadian Verse." Dalhousie Review, 59 (Spring 1979), 118-27.
Hutcheon discusses Canadian poetry which demonstrates an "interest in the processes of reading and writing," both to illuminate individual poems and to clarify structural, as opposed to thematic, patterns. While she discusses poems by E. J. Pratt, A. M. Klein, P. K. Page, Michael Ondaatje, and Margaret Atwood, well over half her article explicates Avison's "Snow." Using the structuralist axes of paradigmatic and syntagmatic meanings, Hutcheon emphasizes the dual possibilities of the poem as both "a nature poem about perception and also a poem about the reading of poetry."
C86 Kertzer, J. M. "Margaret Avison: Power, Knowledge and the Language of Poetry." Canadian Poetry: Studies, Documents, Reviews, No. 4 (Spring-Summer 1979), pp. 29-44.
Emphasizing the continuity of Avison's work, Kertzer states that she calls for a spiritual revolution to transform the world, which needs more imagination than rational knowledge, although the two are interdependent. Her language is full of puns, plays on words, neologisms, hyphenated phrases, and other linguistic techniques. Some poems culminate in a single word which brings the whole poem into perspective. At other times her poetry expresses a realization that language is inadequate for the expression of spiritual experience.
C87 Zichy, Francis. "A Response to Robert Lecker's 'Exegetical Blizzard' and Michael Taylor's 'Snow, Blindness.'" Studies in Canadian Literature, 4 (Summer 1979), 147-54.
Zichy here concludes the critical debate which centred on Avison's "Snow," which he has initiated with his article "Each in His Prison / Thinking of the Key: Images of Confinement and Liberation in Margaret Avison" (C76). Zichy replies first to Robert Lecker's comments (C82) on his original article, explaining and defending his interpretation of the dialectical process in Avison's poetry. Her poetry communicates the invigorating interaction, rather than the simple juxtaposition, of the subjective perceiver and objective reality, contrary to Lecker's statement. Michael Taylor's common sense reading (C75) of the opening lines of "Snow" is too limited, and does not take into account the demonstrable ambiguities of these lines. With Avison, "the relation between the imagination and the world it must work with is a troubled and problematic one, but the connection is never broken."
C88 Kertzer, J. M. "Margaret Avison's Portrait of a Lady: 'The Agnes Cleves Papers.'" Concerning Poetry, 12, No. 2 (Fall 1979), 17-24.
This analysis of Avison's longest poem, which concentrates mainly on its content, suggests that it acts as a pivotal work between Winter Sun and The Dumbfounding. Agnes Cleves has affinities with Coleridge's Ancient Mariner in her compulsive story telling, although she has not attained his self-knowledge. She desires spiritual redemption, but lacks the necessary faith to enter into a renewed life.
C89 Jeffrey, David L. "Margaret Avison: Sonnets and Sunlight." Calvinist Contact, 19 Oct. 1979, pp. 3, 4.
Jeffrey makes brief comments, particularly on "Snow" and "Butterfly Bones; or, a Sonnet Against Sonnets." Avison's poetry is against fixed formulas, conveying a dynamic vision of life.
C90 Kertzer, Jon. "Margaret Avison." In Profiles in Canadian Literature. Vol. II. Ed. and foreword Jeffrey M. Heath. Toronto: Dundurn, 1980, 33-40.
Kertzer includes an essay on Avison's work, a chronology of important dates, comments by Avison on her work, comments by critics on her work, and a selected bibliography. Kertzer's essay summarizes key aspects of her poetry, emphasizing her craft and her fusion of intellect with emotion.
C91 Redekop, Ernest H. "sun / Sonlight / Light: Avison's elemental Sunblue." Canadian Poetry: Studies, Documents, Reviews, No. 7 (Fall-Winter 1980), pp. 21-37.
As in his book on Avison (C1), Redekop bases his response to Avison's poetry on a close analysis of a number of her poems. This book explores "the power of the creating imagination and the effect of the creating logos on the world." Some of her poems explore the meanings suggested by similar scenes in both the Old and New Testaments, while others, such as "Sestina," relate biblical scenes to modern life. As with John Donne, paradox is a frequent technique. Through language and imagination, she constructs "a variety of new molecules combining the physical world which she perceives and the spiritual world which she is trying to enter."
C92 Aide, William. "An Immense Answering of Human Skies: The Poetry of Margaret Avison." In The Human Elements. 2nd ser. Ed. and introd. David Helwig. Ottawa: Oberon, 1981, pp. 51-76.
Avison is "supposedly" a poet of "narrow range," yet her craft is "all-encompassing--from the Larkinish 'Hiatus'...through her colloquial dialogues of speculative meditations to the fulldiapason lyrics of The Dumbfounding, all fusing eye, mind and...ear...." Due to "the closely drawn relationship between word and Word, a strictly literary criticism will never fully account for her." Avison is "out of fashionable demand in Canlit." Winter Sun is "not as bleak as was once thought," since many poems "promise renewal." In The Dumbfounding, Avison comes "to warmer terms with urban life," than in Winter Sun. "There is a quality of 'felt life' in...Winter Sun which removes them [the poems] from formalist virtuosity." But Avison's "thrashing iridescence of language" and her willingness "to write for the sake of literary exercise alone" simultaneously caricatures the formalist position. "It is paradoxical that such a richly storied imagination should insist on writing what she knows, or that such a contrapuntal intellect should have worked for Evangel Hall...." Avison often writes about "ordinary mortals." "Faith now affects perception as Margaret Avison finds herself sunward." In sunblue Avison begins to probe death, sunblue has not been well acclaimed. This book responds to "different portions of scripture," and could not be "written without authentic Christian faith." Avison's "protest wells up deftly in satires." Her "concern to span space/time and define nomansland has produced poems penetrating the inner caves of people...and memory and anticipation poems of a quiescence not found in her previous volumes." sunblue "offers, on the whole, fewer devotional lyrics than The Dumbfounding" and more "dialectic." "It is a post-conversion book...."
C93 Anderson, Mia. "'Conversation with the Star Messenger': An Enquiry into Margaret Avison's Winter Sun." Studies in Canadian Literature, 6 (1981), 82-132.
Taking note of her diction and recurring words and ideas, and use of serious punning to create multiple meanings, Anderson examines a number of her poems in detail. One of Avison's central ideas is that we long for the light, but in its absence we should work out a way of surviving as well as possible without it. She is committed to the world as it is, seeking a way through it to the light. As a number of her poems indicate, Avison has managed to incorporate modern science into her poetry, while at the same time maintaining a highly critical stance toward much of our modern world.
C94 Atwood, Margaret. Introduction. In The New Oxford Book of Canadian Verse: In English. Ed. Margaret Atwood. Toronto: Oxford Univ. Press, 1982, pp. xxvi, xxix.
Avison's Winter Sun shows "unique and intricate metaphysics." She is also listed among the few, but excellent, women poets in Canada.
C95 Kent, David. "Margaret Avison 1918- ." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto/Downsview, Ont.: General/ECW, 1982. Vol. I, 318-20.
"Rapid shifts of syntax and perspective; the appearance of obscure diction and unusual combinations of words and images..., neologism, puns, and puzzling titles...; all these features compel intellectual and imaginative engagement and even, Avison would hope, foster revelation. ...Imaginative vision and the natural world continue to be stressed by Avison..., but the tone of laconic cynicism common to Winter Sun is gradually replaced by the more hopeful stance grounded in Christian convictions." Her "metaphysical style also loosens and relaxes after her first volume." Kent supplies bibliographical data.
C96 Woodcock, George. "Canadian Poetry: An Introduction to Volume One." In Canadian Poetry. Ed. Jack David and Robert Lecker. New Press Canadian Classics. Toronto/Downsview, Ont.: General/ECW, 1982. Vol. I, 18, 19, 29.
Avison, among others, lies at the end of the Victorian influence on Canadian poetry. Her career has been "continuous" and consistent. She has an "austere vision," writes "movingly...of the perplexities of faith and doubt," and melds tradition "with a wry tenacious personal voice."
C97 Woodcock, George. "Canadian Poetry: An Introduction to Volume Two." In Canadian Poetry. Ed. Jack David and Robert Lecker. New Press Canadian Classics. Toronto/Downsview, Ont.: General/ECW, 1982. Vol. II, 13.
Avison "became known as a poet years after...considerably younger writers...."
C98 Bentley, D. M. R. "Drawers of Water; Notes on the Significance and Scenery of Fresh Water in Canadian Poetry." CV/II, 6, No. 4 (Aug. 1982), 27-28.
Avison's figures of the river and the whirlpool in "The Swimmer's Moment" "argue the necessity of confronting" death, "either physical or mental." She uses "traditional mystical paradoxes and ambiguities" and, although her water images "exist in a universal rather than a Canadian landscape," there is "a subtly local component." The whirlpool, her "central figure," is "a metaphor for descent into the unknown...." The parenthetical closing speculation of the poem contains "a lustrous expansive image of the estuary conceived as the rarely achieved goal of imaginative or mystical experience." The "rhythmic regularity" and "gentle stresses...assure the centrifugal movement of the poem's conclusion...."
C99 Lane, M. Travis. "Contemporary Canadian Verse: The View from Here." University of Toronto Quarterly, 52 (Winter 1982-83), 184.
Avison is listed among "Canada's Grand Old Masters" who have written in the "meditative essay" genre, which addresses both sensibilities and intellect.
C100 Bennett, Donna, and Russell Brown. "Margaret Avison, b. 1918." In An Anthology of Canadian Literature in English. Ed. Donna Bennett and Russell Brown. Vol II. Toronto: Oxford Univ. Press, 1983, 32-33.
Biographical comments are followed by a critical summary of Avison's poetic career. She has written two types of poems, those that probe the meaning of life and those that are more overtly Christian. Her early poetry is especially complex; her later poems have progressed to a greater simplicity.
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C123 Guggenheim Fellowship (1956).
C124 Governor-General's Award for Poetry for Winter Sun (1960).
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[underbar]
C1 Redekop, Ernest. Margaret Avison. Studies in Canadian Literature, No. 9. Toronto: Copp Clark, 1970. 152 pp.
Redekop examines the use of pun and paradox in selected poems and also outlines the larger patterns of images and themes which constitute Avison's poetic vision. She rejects the falsification inherent in a fixed perspective; her earlier poetry explores the varying perspectives afforded by different types of people, periods of history, and civilizations. The "optic heart" gives coherence to the multiplicity of material thus obtained, bringing "together disparate images and incidents, widely separated in time and place, which she unites into one statement about the imagination." Many of her earlier poems are concerned with transcending the false restrictions of society. She writes of moments of imaginative and spiritual redemption that in some poems become moments of transfiguration and criticizes the rigidity and logical patterns that typify the structure of our civilization. External and internal environments are complementary and often continuous. Her poetry "communicates a strong sense of historical continuity...but at the same time the contemporary world is always at hand." The contemporaneity of Christ underlies her religious poems, which express visions of rebirth as they draw on the tradition of Donne, Herbert, and Hopkins. Redekop's book includes a brief bibliography of Avison's work and two of her poems "On Believing the Bible" (B89) and "April 17-18, 1970 (Apollo XIII)" (B91), one of which (B89) is here published for the first time.
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C113 Murray, Peggy. "She Wants an Award for the Readers." The Telegram [Toronto], 27 Feb. 1961, p. 25.
On the occasion of winning the Governor-General's Award for poetry, Avison comments on poetry and her life as a poet. "We have to have creative readers as well as creative writers...a prize should go to the audience."
C114 Webb, Phyllis. "Poets Here, Now and Then." Interview with Margaret Avison and Alfred Purdy. Modern Canadian Poetry. CBC Television Extension, 11 June 1967. (8 min., 30 sec.)
In this audio tape of a television program, Avison talks about the necessity of a "clarity of situation" when she begins writing a poem. She discusses her conversion and the ways it changed her attitude to her writing; "The Dumbfounding" was the first poem written after her conversion. Avison reads this poem (B222) and "The Absorbed" (B203).
C115 Bolette, John, Claudette Jones, and Mike Caroline. "A Conversation with Margaret Avison." Dir. Bert Laale. Prod. Instructional Media Centre. Host John Margeson. Scarborough, Ont.: Scarborough College, Univ. of Toronto, 001085, 1971. (Videocassette; black-and-white; 17 min.)
Avison comments on how she started publishing her poetry and her manner of revision. There are no bounds for poetic topics; the importance lies in the manner with which they are presented. She describes her first book of poetry as "too withdrawn" and is now working for greater "immediacy." She considers herself to have poetic affinities with Raymond Souster, bpNichol, Leonard Cohen, and Elizabeth Bishop.
C116 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Milton Acorn, Margaret Atwood, Margaret Avison, Earle Birney, George Bowering, Victor Coleman, Leonard Cohen, Joan Finnigan, John Glassco, George Jonas, Irving Layton, Dorothy Livesay, Gwendolyn MacEwen, Eli Mandel, Alden Nowlan, Michael Ondaatje, P. K. Page, Al Purdy, James Reaney, and A. J. M. Smith. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 May 1971. (3 min., 2 sec.)
Part I of a seven-part series. Anderson interviews the above poets on the way they write poetry and what they do when they suffer dry periods. In Avison's section of Part I, she discusses two periods when she could not write at all. The first was at the end of her "free-flowing youth." The second stemmed from a general redirection of her life when she came to a realization that her poetry was growing too inward. She talks of her conversion and its effect on her and her writing.
C117 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Margaret Atwood, Margaret Avison, Nelson Ball, Victor Coleman, Northrop Frye, John Glassco, Irving Layton, Dennis Lee, Dorothy Livesay, Gwendolyn MacEwen, Eli Mandel, Anne Marriott, John Newlove, Glen Siebrasse, Francis Sparshott, Peter Stevens, Miriam Waddington, Milton Wilson, and George Woodcock. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 19 June 1971. (44 sec.)
Part VI of a seven-part series. Anderson interviews the above poets on small presses and literary criticism. In Avison's section of Part VI, she states that poets generally read too subjectively to be accurate critics. The good poet-critics responsibly try to "communicate something that will help people become better readers."
C118 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Milton Acorn, Margaret Avison, Henry Beissel, Earle Birney, George Bowering, John Robert Colombo, Frank Davey, Ronald Everson, Joan Finnigan, John Glassco, Phyllis Gotlieb, David Helwig, George Johnston, George Jonas, Irving Layton, Anne Marriott, John Newlove, Alden Nowlan, Michael Ondaatje, James Reaney, Miriam Waddington, and Robert Weaver. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 26 June 1971. (55 sec.)
Part VII of a seven-part series. Anderson interviews the above poets and critics on the practical aspects of being a poet. In Avison's section of Part VII, she states that The Canada Council should support the establishment of numerous kiosques whose offerings would balance and compete with the more commercial news-stands.
C119 Nederlanden, Harry der. "Margaret Avison: The Dumbfoundling" (sic). Calvinist Contact, 19 Oct. 1979, pp. 1, 3, 4.
The interviewer combines information on the poet's personal life with information on her influences, particularly those that have helped shape her as a Christian poet. William James's Varieties of Religious Experience and Jacques Ellul are mentioned as important influences. Avison states that "The task of poetry is to prod us to wakefulness." The interviewer concentrates on Avison as Christian, both poetically and personally.
C120 Chunn, Ian. "Interview: Margaret Avison." The Strand [Victoria College, Univ. of Toronto], 26 Jan. 1983, p. 5.
Avison discusses some of her earlier reading. "The Border Ballads hit me like a wave." What finally gets her writing is "an awareness that gets lost if you don't nab it."
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C121 Bowering, George. "Margaret Avison." In his Curious. Toronto: Coach House, 1973, p. 42.
C122 Galt, George. "For Margaret Avison." Applegarth's Folly [London, Ont.], No. 2 (1975), p. 136.
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C101 Ade, Janet Elizabeth. "The Poetry of Margaret Avison: Technique and Theme." M.A. Thesis Toronto 1966.
The two major sections of this thesis examine Avison's use of techique and theme, respectively. Ade discusses the use of numerous poetic techniques in Avison's work, emphasizing her concern with perspective and with establishing the appropriate point of view. Avison's "main theme is seeing in all its aspects, including vision and insight." Forms of vision in her poetry range "from the ecstatic moments of enlightenment to the weary acceptance of an insight into seemingly unavoidable suffering."
C102 Djwa, Sandra Anna. "Metaphor, World View and the Continuity of Canadian Poetry: A Study of the Major English Canadian Poets with a Computer Concordance to Metaphor." Diss. British Columbia 1968.
Canadian poetry exemplifies a continuity of development imitative of, but slightly different from, the English Romantics and appropriate to a North American context. Avison's works "are examined in relationship to a world view which stresses the fallen world and the primary metaphors of sun-destructive and sun-creative." She is described as "the most stimulating Canadian poet" because of her success in portraying the duality of life. A computer concordance of the works of Charles G. D. Roberts, I. V. Crawford, Archibald Lampman, D. C. Scott, E. J. Pratt, Earle Birney, and Margaret Avison serves as a supplement to the dissertation. The concordance serves as "an easily manageable body of empirical data against which the critic can test his own intuitive assumptions and through which he can augment his understanding of a particular poet's work." Djwa suggests "that there is a developing tradition of English-Canadian poetry in which contemporary poets may take their place." (See C42.)
C103 Munro, Jane Patricia. "Seas, Evolution and Images of Continuing Creation in EnglishCanadian Poetry." M.A. Thesis Simon Fraser 1970.
Avison is one of nine poets whose work is examined in the context of the "relationship between seas, evolution and images of continuing creation in English-Canadian poetry." Chapter vii, entitled "Margaret Avison: Creativity from a Flux of Spirit," emphasizes the images of creation that pervade her work.
C104 Williamson, Hendrika. "Man and Mandala: The Poetry of Margaret Avison." M.A. Thesis Simon Fraser 1971.
Williamson analyzes "Avison's major metaphors through an impressionistic critical method." From the earliest poems, in which the world is shown to be in a fallen state, she progresses to a phase in which her personae move from incarceration to "transfiguration." Finally, in the third phase, God is celebrated. Williamson places particular emphasis on the spiritual aspects of Avison's poetry.
C105 Klus, Christopher. "The Religious Poetry of Margaret Avison: An Examination of The Dumbfounding." M.A. Thesis McMaster 1972.
This thesis discusses both the explicitly and implicitly religious poems of The Dumbfounding. Tree and seed, representing growth, and light, representing Christ, are the most important images. These express her particular type of Christianity and help make the book extremely unified. Avison has affinities not only with poets like T. S. Eliot and Gerard Hopkins, but also with British essayist Malcolm Muggeridge and theologians like Father Gregory Baum.
C106 Mansbridge, Francis. "The Poetry of Margaret Avison and Raymond Souster." Diss. Ottawa 1975.
Avison and Souster are related through their common links to American poetry, particularly those poets associated with the Black Mountain group, and also by their exploration of common themes. A survey of the criticism of each author is included, along with explications of numerous poems by each poet.
C107 Sherwood, Lyn Elliot. "Innocence and Experience: An Analysis of the Sun Image in Some Modern Canadian Poetry." M.A. Thesis Carleton 1977.
Avison is one of nine Canadian poets in whose work "...the sun is a symbol of archetypal significance whose variations create a pattern which expresses a dialectic of innocence and experience." Several of her poems are discussed under the chapter headings "Innocence," "Experience," "Transformation," and "Higher Innocence."
C108 Armstrong, E. Jane Jackman. "Margaret Avison's Poetry." M.A. Thesis Carleton 1980.
Armstrong argues for Avison's poetic merit through an examination of her use of forms and versification, rhetorical devices and diction, imagery, and theme. An extensive bibliography is included.
C109 Lehman, Victoria Evelyn. "The Poet as Isotated Visionary in the Work of Margaret Avison and A. M. Klein." M.A. Thesis Queen's 1980.
This thesis explores the relationship between the artist and society in the work of Avison and Klein, with particular reference to Avison's "The Agnes Cleves Papers" and Klein's "Portrait of the Poet as Landscape." While both emphasize the artist as a measure of the vitality of society, Klein's emphasis is more humanistic and Avison's more in the context of Christian mysticism.
C110 Cohn-Sfectu, Ofelia. "To Live in Abundance of Life: A Study of Time in Five Canadian Authors." Diss. McMaster 1981.
Cohn-Sfectu uses the work of Margaret Avison, Al Purdy, Frederick Grove, Hubert Aquin, and Mordecai Richler to present a study of time in twentieth-century Canadian literature which reveals "the increasing complexity and sophistication in the literature of this country." Our literature is not nearly so sombre and space-obsessed as many critics have argued. Rather it is concerned "with moral and psychological problems common to all mankind." The chapter on Avison considers "the system of beliefs which has permitted Margaret Avison to organize human experience meaningfully around a spiritual centre and create subjective, living value out of chronological duration." Her use of time is "visionary, emotional and sensuous." Cohn-Sfectu concludes that "...some of the major Canadian poets and novelists of this century attempt to convey through their works a coherent and humanistic view of the world."
C111 McColm, Sheila Clare. "Metaphorical Style and Thought in the Poetry of Margaret Avison and Michael Ondaatje." M.A. Thesis Western Ontario 1981.
Although Avison and Michael Ondaatje are dissimilar in their content and style, they share an interest in the innovative use of figurative language. A brief history of poetic metaphor and a discussion of some contemporary views of metaphor precedes the analysis of several poems by Avison and Ondaatje. Stylistic innovations in these poems depend largely on metaphorical strategies. The language of their poetry strives to render the new forms of consciousness that come from their ventures into new lands of thought.
C112 St. Pierre, Jeannette. "Avison and the Metaphysicals." M.A. Thesis McMaster 1982.
St. Pierre's analysis of the socio-cultural and political conditions that formed Herbert, Vaughan, and Hopkins shows that Avison was subjected to similar stresses during her life. "Herbert, Hopkins and Avison all perceive the universe as being Christocentric," while all "are particularly concerned with the God-Christ-man relationship."
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D40 Cook, Ramsay. "Letters in Canada: 1960. History: Local and Regional." University of Toronto Quarterly, 30 (July 1961), 461.
This description of "a successful and important professional career" is most interesting for its account "of anti-semitism in Toronto medical circles."
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D39 Coutts, Robin. "How People Lived." Saturday Night, 3 May 1952, p. 25.
This "history for younger readers" benefits from its restriction to one province. It is a "first-class job of good reporting" which helps recreate the feel of different times through quotations from letters, newspapers, and advertisements.
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D23 Dudek, Louis. "Poets of Heaven and Hell." Rev. of sunblue, by Margaret Avison; and A Man to Marry, A Man to Bury, by Susan Musgrave. The Globe and Mail [Toronto], 7 April 1979, p. 39.
Susan Musgrave and Margaret Avison are opposite poets; Musgrave's "violent disorder" contracts with Avison's "focussed world of delight, tied to a system of belief." Avison's language calls too much attention to itself; she uses it "as a secret code, or a shield"--her thought does not demand such complex language.
D24 Johnston, Gordon. "Avison's Temple." The Canadian Forum, May 1979, pp. 30-31.
Like Wallace Stevens, Avison is a poet of the weather. This book possesses "a greater clarity and simplicity" than her earlier work, although her "interest in direct speech" sometimes leads to weaker, more moralistic poems. Others are too oblique in thought and expression, but, in general, this is a successful and admirable book.
D25 Linder, Norma West. "Starkness and Sensibility." Rev. of sunblue, by Margaret Avison; Poems New & Selected, by Patrick Lane; Fall by Fury & Other Makings, by Earle Birney; and Intrigues in the House of Mirrors, by Mike Zizis. Canadian Author & Bookman, 54 (May 1979), pp. 28-29.
Avison's work is essentially optimistic. In spite of some awkward diction, the combination of religious enthusiasm and technical skill makes this book worthwhile.
D26 Moritz, Albert. "Stalking the Sacred Asparagus." Books in Canada, Aug.-Sept. 1979, pp. 28-29.
Avison is developing away from the Miltonic directness of her earlier poetry towards a more crabbed, idiosyncratic diction. While this book has many good poems, mannerisms and overcompression distract from their effect. Her poetry is becoming "allegorical" and Christian, rejecting sole dependence on physical reality.
D27 Lever, Bernice. "Light Under a Bushel." The CRNLE Reviews Journal [Flinders Univ., South Australia], I, No. 2 (Oct. 1979), 61-64.
Although Avison's writing runs counter to public taste, she deserves a wide readership for the delight her poems afford both ear and eye. Her descriptions of nature "have the mysterious vividness of a Japanese landscape painting.... Her poetry has a crisp, memorable unity, that neither allows a word to jar the ear, nor lets her message berate the mind."
D28 McNally, Paul. Rev. of sunblue. The Fiddlehead, No. 123 (Fall 1979), pp. 100-02.
Avison fuses Donne's wit, Milton's Christian love, and Hopkins' celebration with a serving of Charles Olson, and metaphysical awareness with a sensuous particularity. It is a humble, more "loving" book than the previous two, seeing the world with a childlike wonder and "motherly sympathy." She combines "effortless metaphysical joy" with "stern, unabashed faith."
D29 Scobie, Stephen. "Poetry and Fiction." Queen's Quarterly, 87 (Spring 1980), 158-60.
Avison's poems are full of serious puns, combining "metaphysical speculation with acute observation." While she continues the concerns of her earlier books, this book is often too predictable, without the "fine edge of complexity" of her best work. While this is a good book, it will not have the centrality to Canadian literature of The Dumbfounding.
D30 Djwa, Sandra. "Letters in Canada: 1979. Poetry." University of Toronto Quarterly, 49 (Summer 1980), 348-49.
Like her earlier work, these poems are concerned with the "point at which inner and outer weather intersect." Her best poetry is that which, like that of Hopkins, "celebrates the sweep and energy of the physical world." Those "subordinated to doctrine" are the least successful.
D31 Willmot, Rod. "Winning Spirit." Canadian Literature, No. 87 (Winter 1980), pp. 115-16.
Where Avison's poetry succeeds, it does so in spite of its religious fervour. The subtlety of her poems both demands and repays close reading. While some are too pat and uninventive, her verbal powers frequently open out a poem.
D32 Livesay, Dorothy. "What Endures." Rev. of Out of the Violent Dark, by Gwladys Downes; and sunblue, by Margaret Avison. CV/II, 5, No. 2 (Winter 1980-81), 18-19.
Avison "is rough, uncouth, a militant. She lives inside the world she is observing, often employing a wry wit." She creates a "dialectic of juxtaposition" in her poems. "Although Sunblue is in no sense a Collected Poems, it clearly covers a wide range of time and space. This can be baffling sometimes." Avison's sentences are often "concentric," rather than "linear." Her "'nature' poems, as with Hopkins' work, begin to merge into a mystical communion with all growth; and the poems take on religious titles and themes."
D33 McColm, Sheila. Rev. of sunblue. Brick, No. II (Winter 1981), pp. 29-32.
This review is a "slightly revised" excerpt from the reviewer's thesis (C111). The poems of this volume are more intense, fresh, and peaceful, and their arrangement more structured, using seasonal and spiritual patterns, than her earlier work. Their theme of "creation and incarnation" makes the three "Light" poems central. Her metaphors have "impact and clarity because they are irradiated by religious principles, spiritual meanings and resonance."
D34 Adachi, Ken. "Avison's Subtlety Contrasts with Lane's Violent Images." Rev. of Winter Sun/The Dumbfounding: Poems 1940-66, by Margaret Avison; and Old Mother, by Patrick Lane. The Toronto Star, 15 Jan. 1983, p. G12.
Avison is a "remarkably subtle" and visual writer. Her "images, most vividly seen, are...varied.... A scene is fixed, linked with an emotion, a resolution tentatively reached." Adachi praises "The Agnes Cleves Papers." "All of Avison's poems, particularly those which deal with the religious themes that make up The Dumbfounding, have a very high density.... Avison has subordinated...her "technical virtuosity" to...a personal vision that is at once intellectually demanding and morally complex."
D35 Skelton, Robin. "Poetry Selected, Collected, and Resurrected." Rev. of Earthlight: Selected Poetry of Gwendolyn MacEwen, by Gwendolyn MacEwen; Tarts and Muggers: Poems New and Selected, by Susan Musgrave; A Throw of Particles: The New and Selected Poetry of D. G. Jones, by D. G. Jones; A Wild Peculiar Joy, by Irving Layton; and Winter Sun / The Dumbfounding: Poems 1940-66, by Margaret Avison. Quill & Quire, Feb. 1983, p. 33.
Avison's book "is pure delight to read." Her poems are "flawlessly constructed" and show an "astonishing mastery of verse-craft" with "their incisive lyricism, their lambent intelligence, and wit. Clarity of mind and intensity of vision are here combined with warmth of human feeling and served by a dexterity which assures Avison a permanent seat on the Canadian Parnassus."
D36 Garebian, Keith. "Prayers and Sermons." Rev. of Winter Sun / The Dumbfounding: Poems 1940-66, by Margaret Avison; and Digging In, by Elizabeth Brewster. Books in Canada, March 1983, pp. 19-20.
Avison's cool cerebrality and subtle technicality "is brightened by witty particulars that show her to be (like Gerard Manley Hopkins and Wallace Stevens) a metaphysician in love with this world or, at least, those parts of it that she can order into an understanding of being." Avison is a transcendental and difficult writer who does not use "native emblems." She has "greater intellectual affinities with such poets as Francis Sparshott, Ralph Gustafson, and Phyllis Webb than with popular lyricists such as Margaret Atwood, Al Purdy, and Irving Layton.... Although her diction is often wrought with...ornate, formal, and ancient words, it can be gracefully familiar and exquisitely sensuous." In The Dumbfounding, Avison's "poems become prayers, shaped by wonder and astonishment, yearning to be burned in the Saviour's 'beacon fire.'"
D37 Bemrose, John. "Poetry: Thought, Religion and Passion." Rev. of Selected Poems: The Vision Tree, by Phyllis Webb; Winter Sun / The Dumbfounding: Poems 1940-66, by Margaret Avison; Selected Poems 1972-1982, by Robert Bringhurst; and As Close as We Came, by Barry Callaghan. The Globe and Mail Toronto, 28 May 1983, Sec. Entertainment, p. 17.
Margaret Avison's and Phyllis Webb's works "abound in an often complicated wordplay, and a generalizing about the human condition. But Avison has the greater universality" because of her "sensual specifics to the daily world." She also has "the Cross, and the solace of her Christianity.... Much of Avison has aged well, but not all." Her "more involved diction" is "stuffy."
D38 Djwa, Sandra, and R. B. Hatch. "Letters in Canada: 1982. Poetry." University of Toronto Quarterly, 52 (Summer 1983), 343-45.
Avison is perhaps the only Canadian poet "with a dozen or so poems that can hold their own in the whole sweep of twentieth-century poetry." As a metaphysical poet, her work is "preoccupied with the larger questions of man's place in the universe and with the role of the imagination in bringing together the internal and external worlds. ...It is the exuberance of Avison's voice, the largeness of her poetic world, and the richness of line and image which compel our imagination."
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Source: Mansbridge, Francis (compiler); . Part 2: Works On Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 35-64 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABMCA06MAP2.
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Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 35-64)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
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D12 Smith, A. J. M. "Margaret Avison's New Book." The Canadian Forum, Sept. 1966, pp. 132-34.
The Dumbfounding is "the most significant book of poetry" published by a Canadian in the past twenty years. Her command of verbal and metrical resources, the "peculiar searching intensity of her sensibility," and her power of intuiting relationships make her a poet of "isolated superiority." Some of her religious poems are among "the finest...of our time." Her superiority derives "from the purity of her response to experience...and the significance of her faith."
D13 Carruth, Hayden. "In Spite of Artifice." The Hudson Review, 19 (Winter 1966-67), 697.
Apart from the religious poems, which have a "crackling sincerity, like wet wood burning," this book has nothing to recommend it.
D14 Gibbs, Robert. Rev. of The Dumbfounding. The Fiddlehead, No, 70 (Winter 1967), pp. 70-71. Rpt. (abridged) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley and Barbara Harte. Vol. II. Detroit: Gale, 1974, p. 29.
Avison's "closepacked" poems share in her efforts towards comprehensiveness a similarity of purpose to those of Hopkins. The Christian poems follow the tradition of English devotional poetry.
D15 Harrison, Keith. "Poetry Chronicle." Rev. of The Dumbfounding, by Margaret Avison; A Christ of the Ice-Floes, by David Wevill; The L. S. D. Leacock, by Joe Rosenblatt; The Circle Game, by Margaret Atwood; and The Silver Wire, by George Bowering. The Tamarack Review, No. 42 (Winter 1967), pp. 76-77.
Avison has great resources in language, which she uses like Hopkins to celebrate the world. While some of her specifically religious poems are unsuccessful, her lighter, more subtle touch makes her poetry more convincing than that of Hopkins.
D16 Pacey, Desmond. "Canadian Literature 1966: A Good to Middling Year." Commentator [Toronto], No. 11 (Jan. 1967), p. 25.
This "is a splendid poetry of affirmation." Avison evokes "the transfiguration of the world of ordinary fact and time by the illuminating and liberating power of Christ."
D17 MacCallum, Hugh. "Letters in Canada: 1966. Poetry." University of Toronto Quarterly, 36 (July 1967), 354-57.
Avison's poetry is characterized by control, order, and wit, employing multiple points of view which "create an awareness of possible attitudes and evaluations." Her religious poems at times have "a new lyrical freedom."
D18 Tillinghast, R. "Seven Poets." Poetry [Chicago], 110 (July 1967), 265-66.
Avison's poetry is innovative, although this sometimes leads her to be gimmicky and arbitrary. Dialogues help convey the true complexity of experience. Her religious poems can be moving, although at times they fail because of the inherent difficulties of expressing religious ecstasy through language.
D19 Colombo, John Robert. "Avison and Wevill." Rev. of The Dumbfounding, by Margaret Avison; and A Christ of the Ice-Floes, by David Wevill. Canadian Literature, No. 34 (Autumn 1967), pp. 72-76.
Avison's poetry combines a Keatsian selflessness with the traditional spirit of the haiku and the modern approach of American projectivist verse. Although she is an accomplished poet, she does not come "to terms with spiritual reality"; while she believes, what she believes is unclear. She writes "a beautiful, faintly troubled poetry," but has not made the unreal a part of her world.
D20 Helwig, David. "Canadian Poetry: Seven Recent Books." Queen's Quarterly, 74 (Winter 1967), 759-61.
In Avison's poetry, facts become more than they are, yet without distorting the reality they signify. She "has a particular fondness for moments of paradoxical contrast," which she often communicates through powerful rhythms.
D21 Moran, Ronald. "Quality and Quantity: A Chronicle of the Poetry Explosion." The Southern Review [Baton Rouge, La.], 4 (Summer 1968), 787-89.
Avison and Joel Sloman have the "same publisher, same surrealistic method of perception, same obvious derivation from the writings of Louis Zukofsky, Charles Olson, Robert Creeley, and other poets." Yet Avison's poetic dislocation is a "confusion that results from rhetorical excess used to convey perception." Avison's work contains many "subjectively oriented images."
D22 Morse, Samuel French. "Poetry 1966." Contemporary Literature, 9 (Winter 1968), pp. 120-21. Rpt. (abridged) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley and Barbara Harte. Vol. II. Detroit: Gale, 1974, p. 29.
Avison's poetry lacks a "clearly defined style of her own." Sometimes the style is "flat" and "self-conscious."
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Source: Mansbridge, Francis (compiler); . Part 2: Works On Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 35-64 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABMCA06MAP2.
Item Number: ABCMA06MAP2000006001004002
Record: 350- Title:
- Part 2 Works On Margaret Avison; Selected book reviews; Winter sun
- Other Title:
- Part 2: Works On Margaret Avison; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Mansbridge, Francis (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: AVISON, Margaret; AVISON, Margaret -- Criticism & interpretation -- Bibliography
Titles critiqued: WINTER sun (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Mansbridge, Francis (compiler) Part 2: Works On Margaret Avison.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 35-64)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABMCA06MAP2
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Source: Part 2: Works On Margaret Avison. Mansbridge, Francis (compiler); Toronto, Ontario : ECW Press, 1985, pp. 35-64
Part 2 Works On Margaret Avison; Selected book reviews; Winter sun
Mansbridge, Francis (compiler)
D1 House, Vernal. "A Bow to Margaret Avison." The Globe Magazine [The Globe and Mail] [Toronto], 30 July 1960, p. 9.
Avison eschews popular fashion. Her poetry is finely crafted, conveying the assimilation of a broad range of poetic knowledge; it combines both order and "an internal intimacy of understanding."
D2 Woodcock, George. "Two Accomplished Poets Share Ironically Tragic View of Life." Rev. of Winter Sun, by Margaret Avison; and You, Emperors, and Others: Poems 1957-1960, by Robert Penn Warren. The Vancouver Sun, 17 Sept. 1960, p. 5.
Avison's poetry is "uncompromising," communicating an "ironically tragic view of life." Her verse is difficult but original, combining a philosophical reach with a sense of physical reality, which at times "evokes both the surface of life and the currents of meaning which we always strive to see beneath it."
D3 Endicott, N. J. "Recent Verse." Rev. of Winter Sun, by Margaret Avison; Lost Dimension, by Fred Cogswell; and Eyes without a Face, by Kenneth McRobbie. Canadian Literature, No. 6 (Autumn 1960), pp. 60-62.
Avison's poetry requires an alert mind, but also conveys "reserved but strongly individual feeling." Some lines are forced and "cold-bloodedly complicated," but her work contains many passages in which the combination of sense and idea is successful.
D4 Mandel, Eli. Rev. of Winter Sun. Queen's Quarterly, 67 (Winter 1960-61), 704-05.
Avison's poetry is difficult, but not obscure. Her sonnets are central to her main theme, "'the peculiar shelf of being,'" which she conveys in a multiplicity of ways. "She offers to everyone caught between brute fact and mere desire the highest kind of human justice, her comprehension and compassion."
D5 Atwood, Margaret. "Some Sun for This Winter." Acta Victoriana [Victoria College, Univ. of Toronto], 85, No. 2 (Jan. 1961), 18-19. Rpt. in Second Words: Selected Critical Prose. By Margaret Atwood. Toronto: House of Anansi, 1982, pp. 21-23.
Avison reveals "concrete reality" with "precise and striking" uses of descriptive words. She combines "verbal wit," "humour," and "human warmth" in poems which both internalize and transform reality.
D6 Smith, A. J. M. "Critical Improvisations on Margaret Avison's Winter Sun." The Tamarack Review, No. 18 (Winter 1961), pp. 81-86. Rpt. in Towards a View of Canadian Letters: Selected Critical Essays 1928-1971. By A. J. M. Smith. Vancouver: Univ. of British Columbia Press, 1973, pp. 142-45.
Smith concentrates on Avison's strikingly original use of language. Precise and thorough use of sense data deepen and strengthen the visions she reveals. Puns and irony combine with energy and humour to create a poetry in which sensation and thought are identified.
D7 Reaney, James. "Turning New Leaves (I)." The Canadian Forum, March 1961, p. 284.
Reaney emphasizes the sensuous particularity of Avison's poetry. "The Agnes Cleves Papers" is central, as she is "a being who contains all the universe." Avison's poetry teaches us a new way of seeing, showing how "to be an archangel who can see everywhere and a slug in a fern bank who can see practically nowhere, all at the same time."
D8 Kennedy, X. J. "Five Poets in Search of Six Lines." Rev. of Winter Sun, by Margaret Avison; Wilderness of Ladies, by Eleanor Ross Taylor; Walls and Distances, by David Galler; Outlanders, by Theodore Weiss; and The Drunk in the Furnace, by W. S. Merwin. Poetry [Chicago], 98 (May 1961), 118-19.
Avison's poetry has a "sharpness and kick," with "ideal vista set against hardscrabble reality." She portrays the common people with clarity and unsentimentality.
D9 Slater, Joseph. "All's Well in the World of Verse." Saturday Review, 6 May 1961, pp. 30, 47.
Avison "speaks darkly at times," writes "with wit...with an accurate eye...with a musical ear and a sense of contrast.... Her diction and her figures astonish.... She controls a wide variety of forms...."
D10 Wilson, Milton. "Letters in Canada: 1960. Poetry." University of Toronto Quarterly, 30 (July 1961), 380-83.
Avison is one of Canada's best two or three poets in the period since 1940. While "Birth Day" is an extremely joyful poem, she prefers to write obliquely and ironically. Her use of complex and distant illusions makes her poetry difficult, as does her manner of moving through hypotheses, rather than affirming or denying them. But she is "an exciting and rewarding poet."
D11 Bates, Ron. "Reviews of Recent Canadiana." Alphabet, No. 3 (Dec. 1961), p. 42.
Avison's poetry aligns reality in different ways, which are "both startling and beautiful." She makes haunting poetry out of the clutter of our lives.
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Source: Mansbridge, Francis (compiler); . Part 2: Works On Margaret Avison, Toronto, Ontario : ECW Press, 1985. pp. 35-64 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABMCA06MAP2.
Item Number: ABCMA06MAP2000006001004001
Record: 351- Title:
- Part 1 Works By Michael Ondaatje; Contributions to periodicals and books; Articles
- Other Title:
- Part 1 Works By Michael Ondaatje; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP1
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
Part 1 Works By Michael Ondaatje; Contributions to periodicals and books; Articles
Brady, Judith (compiler)
B175 "Roy Kiyooka (Poet and Painter)." artscanada, Oct.-Nov. 1968, p. 45.
B176 "Little Magazine/Small Presses, 1969." artscanada, Aug. 1969, pp. 17-18.
B177 "Michael Ondaatje: Peter." In How Do I Love Thee: Sixty Poets of Canada (and Quebec) Select and Introduce Their Favourite Poems from Their Own Work. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1970, p. 149.
B178 "O'Hagan's Rough-Edged Chronicle." Canadian Literature, No. 61 (Summer 1974), pp. 24-31. Rpt. ("Howard O'Hagan and the 'Rough-Edged Chronicle'") in The Canadian Novel in the Twentieth Century: Essays from Canadian Literature. Ed. and introd. George Woodcock. New Canadian Library, No. 115. Toronto: McClelland and Stewart, 1975, pp. 276-84.
B179 "Garcia Marquez and the Bus to Aracataca." In Figures in a Ground: Canadian Essays on Modern Literature Collected in Honor of Sheila Watson. Ed. Diane Bessai and David Jackel. Saskatoon: Western Producer Prairie, 1978, pp. [19]-31, [327]n.
B180 "Pillar of Another World." Toronto Life, Jan. 1982, pp. 78-79.
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Source: Brady, Judith (compiler); . Part 1: Works By Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 130-151 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP1.
Item Number: ABCMA06MOP1000006003002006
Record: 352- Title:
- Part 1 Works By Michael Ondaatje; Contributions to periodicals and books; Audio-visual material
- Other Title:
- Part 1 Works By Michael Ondaatje; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP1
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
Part 1 Works By Michael Ondaatje; Contributions to periodicals and books; Audio-visual material
Brady, Judith (compiler)
B184 "Elizabeth." Narr. Michael Ondaatje. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy and Terri Thompson. CBC Television Extension, 23 July 1967. Rebroadcast. Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs. Ed. Robert Weaver. CBC Radio, 7 Dec. 1968.
See DM, TTK, and B14.
B185 "A Love Poem." Narr. Michael Ondaatje. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy and Terri Thompson. CBC Television Extension, 23 July 1967.
B186 "'Description is a Bird.'" Narr. Michael Ondaatje Anthology. Prod. Terrance Gibbs. Ed. Robert Weaver. CBC Radio, 20 Aug. 1968. Rebroadcast. Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs. Ed. Robert Weaver. CBC Radio, 7 Dec. 1968.
See DM and B6.
B187 "Dragon." Narr. Michael Ondaatje. Anthology. Prod. Terrance Gibbs. Ed. Robert Weaver. CBC Radio, 20 Aug. 1968. Rebroadcast. Narr. Jim Robertson. This Country in the Morning. Host Peter Gzowski. Prod. Alex Frame. CBC Radio, 17 June 1974.
The 1974 tape also includes an interview (C108). See also DM, TTK, and B17.
B188 "Henri Rousseau and Friends." Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs. Ed. Robert Weaver. CBC Radio, 20 Aug. 1968.
See DM and TTK.
B189 "Over the Garden Wall." Narr. Michael Ondaatje. Anthology. Prod. Terrance Gibbs. Ed. Robert Weaver. CBC Radio, 20 Aug. 1968. Rebroadcast. Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs. Ed. Robert Weaver. CBC Radio, 7 Dec. 1968.
See DM and B9.
B190 "Signature." Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs, Ed. Robert Weaver. CBC Radio, 20 Aug. 1968. Rebroadcast. Narr. Jim Robertson. This Country in the Morning. Host Peter Gzowski. Prod. Alex Frame. CBC Radio, 17 June 1974.
The 1974 tape includes a commentary in which Ondaatje notes this is a revenge poem about having his appendix out. The 1974 tape also includes an interview (C108). See also TTK and B15.
B191 "Breaking Green." Narr. Michael Ondaatje. Poetry Gala. Prod. Terrence Gibbs and Stan Horobin. CBC-FM Radio, 19 Oct. 1968.
See RJ, TTK, and B48.
B192 "Gold and Black." Narr. Michael Ondaatje. Poetry Gala. Prod. Terrence Gibbs and Stan Horobin. CBC-FM Radio, 19 Oct. 1968.
See RJ, TTK, and B53 ("Gold and black").
B193 "Leo." Narr. Michael Ondaatje. Poetry Gala. Prod. Terrence Gibbs and Stan Horobin. CBC-FM Radio, 19 Oct. 1968.
See RJ and B39.
B194 "Stewart's bird." Narr. Michael Ondaatje. Poetry Gala. Prod. Terrence Gibbs and Stan Horobin. CBC-FM Radio, 19 Oct. 1968.
See RJ and B45 ("Stuart's bird, seen in his back garden").
B195 "Application for a Driving Licence." Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs. Ed. Robert Weaver. CBC Radio, 7 Dec. 1968.
See DM and TTK.
B196 "The Diverse Causes." Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs. Ed. Robert Weaver. CBC Radio, 7 Dec. 1968.
See DM, TTK, and B21.
B197 "For John, Falling." Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs. Ed. Robert Weaver. CBC Radio, 7 Dec. 1968.
See DM, TTK, and B22.
B198 "The House Divided." Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs. Ed. Robert Weaver. CBC Radio, 7 Dec. 1968.
See DM ("A House Divided"), TTK, and B119.
B199 "The Inheritors--for Quinton on her birthday, July 7 1964." Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs. Ed. Robert Weaver. CBC Radio, 7 Dec. 1968.
See DM and B7 ["The Inheritors (for Quinton on her birthday, July 7, 1964)"].
B200 "Peter." Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs. Ed. Robert Weaver. CBC Radio, 7 Dec. 1968.
See DM, TTK, and B19.
B201 "Prometheus, With Wings." Narr. Michael Ondaatje. Anthology. Prod. Terrence Gibbs. Ed. Robert Weaver. CBC Radio, 7 Dec. 1968.
See DM and B23 ("Prometheus, with wings").
B202 The Collected Works of Billy the Kid. Prod. and dir. John Reeves. CBC Stage. CBC Radio, 5 June 1971. Rebroadcast. CBC Tuesday Night. Prod. and dir. John Reeves. CBC Radio, 29 Aug. 1972. Rebroadcast. Encore. Prod. and dir. John Reeves. CBC-FM Radio, 7 Sept. 1972.
The cast for each of these broadcasts includes Jack Anthony, James Edmond, John Gramik, Kathleen Livingstone, Ed McNamara, Susan Mitchell, Douglas Rain, Ruth Springford, and John Stocker. See CWBK.
B203 "White Dwarfs." Narr. Michael Ondaatje. In "Canadian Poets Reading." Anthology. CBC Radio, 6 Nov. 1971. Rerecorded. Narr. Michael Ondaatje. Eleven Canadian Poets. Edmonton: J. M. LeBel, 1973. (L.p., 1 min. 57 sec.) Rerecorded. Narr. Michael Ondaatje. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 28 July 1973. Rerecorded. Narr. Jim Robertson. This Country in the Morning. Host Peter Gzowski. Prod. Alex Frame. CBC Radio, 18 June 1974.
Eleven Canadian Poets also includes Ondaatje's comments on this poem and a brochure on which the text is printed. See RJ, TTK, and B84.
B204 "Letters & Other Worlds." Narr. Michael Ondaatje. Eleven Canadian Poets. Edmonton: J. M. LeBel, 1973. (L.p., 3 min. 24 sec.) Rerecorded. Narr. Michael Ondaatje. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 28 July 1973. Rerecorded. Narr. Jim Robertson. This Country in the Morning. Host Peter Gzowski. Prod. Alex Frame. CBC Radio, 17 June 1974. Rebroadcast. In "Poetry and the Microphone." Host Kildare Dobbs. Anthology: International Festival of Poetry, Oct. 26-Nov. 1, Hart House. Prod. Patrick Hynan. Ed. Robert Weaver. CBC Radio, 15 Nov. 1975.
Eleven Canadian Poets also includes a brochure on which the text is printed. The 1974 tape also includes an interview (C108). See also RJ, TTK, and B82.
B205 "Rat Jelly." Narr. Michael Ondaatje. Eleven Canadian Poets. Edmonton: J. M. LeBel, 1973. (L.p., 46 sec.)
Eleven Canadian Poets also includes Ondaatje's comments on the poem and a brochure on which the text is printed.
B206 "Dates." Narr. Michael Ondaatje. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 28 July 1973.
See RJ, TTK, and B118.
B207 "Letter to Ann Landers." Narr. Michael Ondaatje. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 28 July 1973.
See RJ and B77 ("A Rejection Slip from Ann Landers").
B208 "Philoctetes on the Island." Narr. Michael Ondaatje. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 28 July 1973.
See RJ, TTK, PI, and B44.
B209 "A Bad Taste: For Bob." Narr. Michael Ondaatje. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 4 Aug. 1973.
See RJ ("a bad taste").
B210 "Burning Hills: for Chris and Fred." Narr. Michael Ondaatje. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 4 Aug. 1973.
See RJ, TTK, and B91 ("Burning Hills").
B211 "Rat Poems." Narr. Michael Ondaatje. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 4 Aug. 1973.
B212 "We're at the Graveyard." Narr. Michael Ondaatje. In "The Charm of Kingston." CBC Tuesday Night. Prod. Alex Smith. CBC Radio, 11 Dec. 1973.
The tape is mainly composed of an interview (C107). See also RJ ("We're at the graveyard"), TTK (We're at the Graveyard"), and B50.
B213 "[After shooting Gregory....]" Narr. Jim Robertson. This Country in the Morning. Host Peter Gzowski. Prod. Alex Frame. CBC Radio, 17 June 1974.
The tape also includes an interview (C108). See also CWBK and B63 ("The Left-Handed Poems [I]: [After shooting Gregory . . .]").
B214 "'Lovely the Country of Peacocks.'" Narr. Jim Robertson. This Country in the Morning. Host Peter Gzowski. Prod. Alex Frame. CBC Radio, 17 June 1974.
The tape also includes an interview (C108). See also DM and TTK.
B215 "[Poor young William's dead....]" Narr. Jim Robertson. This Country in the Morning. Host Peter Gzowski. Prod. Alex Frame. CBC Radio, 17 June 1974.
The tape also includes an interview (C108). See also CWBK ("[Poor William's dead . . .]").
B216 Sweet Like a Crow: for Hetti Corea, 8 years old." In Poetry in Motion. Prod. Ron Mann. Sphinx, 1982.
See RF.
B217 "The Passions of Lalla." Anthology. Exec. prod. Howard Engel. CBC Radio, 6 Nov. 1982.
See RF and B141.
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Source: Brady, Judith (compiler); . Part 1: Works By Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 130-151 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP1.
Item Number: ABCMA06MOP1000006003002008
Record: 353- Title:
- Part 1 Works By Michael Ondaatje; Contributions to periodicals and books; Poems
- Other Title:
- Part 1 Works By Michael Ondaatje; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP1
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
Part 1 Works By Michael Ondaatje; Contributions to periodicals and books; Poems
Brady, Judith (compiler)
Note: When an item is reprinted in one of Ondaatje's books or broadsides, this fact is noted in the entry through one of the following abbreviations:
Claude Glass .............................CG
The Collected Works of Billy the Kid:
Left Handed Poems ................CWBK
The Dainty Monsters ......................DM
Philoctetes, on the Island ...............PI
Rat Jelly ................................RJ
Running in the Family ....................RF
There's a Trick with a Knife
I'm Learning to Do: Poems 1963-1978 .. TTK
To a Sad Daughter: For Quinton ..........TSD
B1 "The elephant lady." In New Wave Canada: The New Explosion in Canadian Poetry. Ed. and introd. Raymond Souster. Toronto: Contact, 1966, pp. 141-42.
B2 "Memoirs of a military strategist." In New Wave Canada: The New Explosion in Canadian Poetry. Ed. and introd. Raymond Souster. Toronto: Contact, 1966, p. 144.
B3 "My Idle Wild." In New Wave Canada: The New Explosion in Canadian Poetry. Ed. and introd. Raymond Souster. Toronto: Contact, 1966, p. [137].
B4 "Pedigree (Athlete's Head in Bronze, Greek Circa 500 B.C., The Louvre, Paris)." In New Wave Canada: The New Explosion in Canadian Poetry. Ed. and introd. Raymond Souster. Toronto: Contact, 1966, p. 141.
B5 "Song to Alfred Hitchcock and Wilkinson:". IS., No. 1 [1966?], n. pag. DM (revised).
B6 "Description Is a Bird." The Fiddlehead, No. 68 (Spring 1966), p. 8. DM (revised--"'Description Is a Bird'").
See B186.
B7 "The Inheritors: (for Quinton on her birthday, July 7, 1964)." The Fiddlehead, No. 68 (Spring 1966), pp. 8-9. DM (revised--"The Inheritors--for Quinton on her birthday, July 7, 1964").
See B199.
B8 "Little Old Man." The Fiddlehead, No. 69 (Summer 1966), p. 48.
B9 "Over the Garden Wall." The Fiddlehead, No. 69 (Summer 1966), pp. 49-50. DM (revised).
See B189.
B10 "Pyramid." Queen's Quarterly, 73 Summer 1966), 233. DM (revised).
B11 "Summer Rider:". Prism International, 6, No. 1 (Summer 1966), 62. DM (revised--"Tink, Summer Rider").
B12 "The Time around Scars:". Prism International, 6, No. 1 (Summer 1966), 61. DM ("The Time Around Scars"); TTK.
B13 "Pigeons--Sussex Avenue." The Canadian Forum, July 1966, p. 84. DM (revised--"Pigeons, Sussex Avenue").
B14 "Elizabeth:". The Canadian Forum, Dec. 1966, p. 203. DM (revised--"Elizabeth"); TTK.
See B184.
B15 "Signature:". The Canadian Forum, Dec. 1966, p. 203. DM (revised--"Signature"); TTK (revised).
See B190.
B16 "The Goodnight." Queen's Quarterly, 73 (Winter 1966), 540. DM (revised); TTK.
B17 "Dragon." Quarry, 16, No. 3 (March 1967), 10. DM; TTK (revised).
See B187.
B18 "Gorillas:". Quarry, 16, No. 3 (March 1967), 10. DM (revised--"Gorillas").
B19 "Peter." The Canadian Forum, March 1967, pp. 270-71. DM (revised); TTK.
See B200.
B20 "Paris." The Tamarack Review, No. 44 Summer 1967), pp. 65-69. DM (revised).
B21 "The Diverse Causes." Prism International, 7, No. 2 (Autumn 1967), 32-33. DM (revised); TTK.
See B196.
B22 "For John, Falling:". Prism International, 7, No. 2 (Autumn 1967), 33. DM (revised--"For John, Falling"); TTK.
See B197.
B23 "Prometheus, with wings." The Fiddlehead, No. 72 (Summer 1967), p. 1. DM (revised--"Prometheus, With Wings").
See B201.
B24 "Pictures from Vietnam." In The New Romans: Candid Canadian Opinions of the U.S. Ed. and introd. A.W. Purdy. Edmonton: Hurtig, 1968, p. 131.
B25 "The Kid from Red Bank: Banquet:". Quarry, 17, No. 4 (Summer 1968), 35.
B26 "The Kid from Red Bank: Cabaret:". Quarry, 17, No. 4 (Summer 1968), 35.
B27 "The Kid from Red Bank: Daddy:". Quarry, 17, No. 4 (Summer 1968), 35.
B28 "The Kid from Red Bank: Down:". Quarry, 17, No. 4 (Summer 1968), 36.
B29 "The Kid from Red Bank: Fabulous Shadow:". Quarry, 17, No. 4 (Summer 1968), 36. RJ (revised--"Fabulous shadow").
B30 "The Kid from Red Bank: Photosynthesis:". Quarry, 17, No. 4 (Summer 1968), 34.
B31 "Pictures from the War." Queen's Quarterly, 75 (Summer 1968), 261.
B32 "Elizabeth-Anne." The Canadian Forum, Aug. 1968, p. 111.
B33 "Elizabeth--Henry's Slut." The Canadian Forum, Aug. 1968, p. 111.
B34 "Elizabeth--the House." The Canadian Forum, Aug. 1968, p. 111.
B35 "Asia Grey." Mainline [Windsor, Ont.], No. 3 (Nov. 1968), 12.
B36 "Kim, at Half an Inch." artscanada, Dec. 1968, p. 65. RJ (revised--"Kim, at half an inch"); TTK ("Kim at Half an Inch").
B37 "Coming home." SYNAPSIS, No. 1, 5 cent mini mimeo series, No. 19. Toronto: Ganglia, [1969?], n. pag. DM (revised--"Coming Home").
B38 "Greenhouses in Snow:". The Canadian Forum, March 1969, p. 286.
B39 "Leo." The Canadian Forum, March 1969, p. 286. RJ (revised).
See B193.
B40 "Bestiary:". Black Moss [Windsor, Ont.], 1, No. 2 (Spring [1969]), 21.
B41 "Last Hitchhikers:". Black Moss [Windsor, Ont.], 1, No. 2 (Spring [1969]), 21-22.
B42 "Thoughts in a Volvo (or Why Rex Reed hasnt bothered interviewing Canadian poets yet):". Black Moss [Windsor, Ont.], 1, No. 2 (Spring [1969]), 22.
B43 "Toronto/London 401, 1968:". Black Moss [Windsor, Ont.], 1, No. 2 (Spring [1969]), 21.
B44 "Philoctetes on the island." IS., No. 6 (April 1969), pp. 10-11. Rpt. (revised) in boundary 2 [State Univ. of New York at Binghamton], [A Canadian Issue], 3, No. 1 (Fall 1974), 44. RJ (revised--"Philoctetes on the island"); TTK (revised--"Philoctetes on the Island"); PI.
See B208.
B45 "Stuart's bird, seen in his back garden." IS., No. 6 (April 1969), p. 9. RJ (revised--"Stuart's bird").
See B194.
B46 "The Dog Who Loved Bach." Alphabet, No. 16 (Sept. 1969), p. 92.
B47 "Flirt and Wallace." Alphabet, No. 16 (Sept. 1969), p. 93. RJ (revised).
B48 "Breaking Green:". Quarry, 19, No. 1 (Fall 1969), 30-31. RJ (revised--"Breaking Green"); TTK (revised).
See B191.
B49 "Griffin of the Night:". Quarry, 19, No. 1 (Fall 1969), 31. RJ ("Griffin of the night"); TTK ("Griffin of the Night").
B50 "We're at the Graveyard:". Quarry, 19, No. 1 (Fall 1969), 31-32. RJ (revised--"We're at the graveyard"); TTK ("We're at the Graveyard").
See B212.
B51 "The Anarchist is Orderer." Duel [Sir George Williams Univ.], No. 1 (Winter 1969), p. 17.
B52 "Elizabeth, in the greenhouse." Duel [Sir George Williams Univ.], No. 1 (Winter 1969), p. 16.
B53 "Gold and black." Duel [Sir George Williams Univ.], No. 1 (Winter 1969), p. 17. RJ (revised--"Gold and Black"); TTK.
See B192.
B54 "billy the kid: [Christmas at Fort Sumner, 1880. There were five of us . . .]." BlewOintment [Vancouver], Occupation Ishew, 1970, p. 61. CWBK (revised--"[Christmas at Fort Sumner, 1880. There were five of us together . . .]").
B55 "billy the kid: [(Garrett had stuffed birds. Not just the stringy Mexican . . .)]." BlewOintment [Vancouver], Occupation Ishew, 1970, p. 63. CWBK (revised--"[(Garrett had stuffed birds. Not just the stringy Mexican vultures . . .)]").
B56 "billy the kid: MISS SALLIE CHISUM: A COURTEOUS LITTLE GENTLEMAN:". BlewOintment [Vancouver], Occupation Ishew, 1970, p. 63. CWBK (revised--"MISS SALLIE CHISUM: A COURTEOUS LITTLE GENTLEMAN:").
B57 "billy the kid: MISS SALLIE CHISUM: GOOD FRIENDS:". BlewOintment [Vancouver], Occupation Ishew, 1970, p. 63. CWBK (revised--"MISS SALLIE CHISUM: GOOD FRIENDS:").
B58 "billy the kid: [So we moved in a batch now. Not just Dave, Billy Wilson . . .]." BlewOintment [Vancouver], Occupation Ishew, 1970, pp. 61-63. CWBK (revised--"[We moved in a batch now. Not just Dave Rudabaugh, Wilson . . .]").
B59 "The Epic Dog." BlewOintment [Vancouver], Oil Slick Speshul, 1970, p. 7.
B60 ["I've never read a line / of Gertrude Stein"]. grOnk [Toronto], Ser. 5, No. 1--synapsis [Toronto], No. 2--runcible spoon [Sacramento, Cal.], [Special Canadian International Number], [1970], n. pag.
The first two lines given for the above untitled poem compose the entire poem, hence no ellipsis follows the bracketted material.
B61 "[Sleeping in the sun- . . .]." BlewOintment [Vancouver], Oil Slick Speshul, 1970, p. 7.
B62 Untitled poem (Flower spray). In THE COSMIC CHEF, GLEE AND PERLOO MEMORIAL SOCIETY UNDER THE DIRECTION OF THE CAPTAIN POETRY PRESENTS AN EVENING OF CONCRETE. Ed. bpNichol. Ottawa: Oberon, 1970, pp. 23-27.
A poem by David UU is also printed through the middle of pages 23-27 and should not be confused with Ondaatje's poem, which is noted to be a discarded version from The Collected Poems of Billy the Kid: Left Handed Poems.
B63 "The Left-Handed Poems (1): [After shooting Gregory. . .]." 20 Cents Magazine [London, Ont.], 4, No. 1 (Jan. 1970), n. pag. CWBK (revised--"[After shooting Gregory . . .]").
See B213 ("[After shooting Gregory . . .]").
B64 "The Left-Handed Poems (1): [The barn I stayed in then was at the edge of a farm and had . . .]." 20 Cents Magazine [London, Ont.], 4, No. 1 (Jan. 1970), n. pag. CWBK (revised--"[The barn I stayed in for a week then was at the edge of a...]").
B65 "The Left-Handed Poems (1): [In Boot Hill . . . ]." 20 Cents Magazine [London, Ont.], 4, No. 1 (Jan. 1970), n. pag. CWBK (revised--"[In Boot Hill there are over 400 graves. It takes...]").
B66 "The Left-Handed Poems (1): [Miss Angela Dickinson of Tucson...]." 20 Cents Magazine [London, Ont.], 4, No. 1 (Jan. 1970), n. pag. CWBK (revised--"[Miss Angela Dickinson of Tucson . . .]").
B67 "The Left-Handed Poems (1): MRS. JARAMILLO: THE PHOTOGRAPH." 20 Cents Magazine [London, Ont.], 4, No. 1 (Jan. 1970), n. pag. CWBK (revised--"PAULITA MAXWELL: THE PHOTOGRAPH").
B68 "The Left-Handed Poems (1): [These are the killed...]." 20 Cents Magazine [London, Ont.], 4, No. 1 (Jan. 1970), n. pag. CWBK (revised--"[These are the killed....]").
B69 "The Left-Handed Poems (1): [Tilts back to fall . . .]." 20 Cents Magazine [London, Ont.], 4, No. 1 (Jan. 1970), n. pag. CWBK (expanded--"[Tilts back to fall . . .]").
B70 "The Left-Handed Poems (1): [When I caught Charlie dead . . .]." 20 Cents Magazine [London, Ont.], 4, No. 1 (Jan. 1970), n. pag. CWBK (revised--"[When I caught Charlie Bowdre dying . . . ]").
B71 "The Left-Handed Poems (1): [With the Bowdres...]." 20 Cents Magazine [London, Ont.], 4, No. 1 (Jan. 1970), n. pag. CWBK ("[With the Bowdres . . .]").
B72 "from Billy the Kid: The Complete Works: [Forty miles ahead of us then, in almost a straight line was ...]." IS., No. 8 (Spring 1970), n. pag. CWBK (revised--"[Forty miles ahead of us, in almost a straight line, is the house....]").
B73 "from Billy the Kid: The Complete Works: [She had lived in that house fourteen years, and every year...]." IS., No. 8 (Spring 1970), n. pag. CWBK (revised--"[She had lived in that house fourteen years, and every year she...]").
B74 "Billboards." The Fiddlehead, No. 85 (May-June-July 1970), pp. 14-15. RJ (revised); TTK (revised).
B75 "King Kong:". The Fiddlehead, No. 85 (May-June-July 1970), p. 17. RJ (revised).
B76 "King Kong meets Wallace Stevens:". The Fiddlehead, No. 85 (May-June-July 1970), p. 18. RJ (revised--"King Kong meets Wallace Stevens"); TTK (revised--"King Kong Meets Wallace Stevens").
B77 "A Rejection Slip from Ann Landers." The Fiddlehead, No. 85 (May-June-July 1970), p. 16. RJ (revised -- "Letter to Ann Landers").
See B207.
B78 "from The Collected Works of Billy the Kid: I. [I remember this midnight at John Chisum's. Sallie was telling . . .]." Quarry, 19, No. 4 (Summer 1970), 16-19. CWBK (revised--"[I remember this midnight at John Chisum's. Sallie was telling...]").
B79 "from The Collected Works of Billy the Kid: II. MISTAH . . . PATRICK . . . GARRETT!!!". Quarry, 19, No. 4 (Summer 1970), 19-22. CWBK (revised -- "MISTUH...PATRICK...GARRETT!!!").
B80 "Notes for the Legend of Salad Woman." The Canadian Forum, Sept. 1970, p. 205. RJ (revised-"Notes for the legend of Salad Woman"); TTK ("Notes for the Legend of Salad Woman").
B81 "Postscript from Picadilly Street." The Canadian Forum, Sept. 1970, p. 205. RJ (revised--"Postcard from Piccadilly Street"); TTK.
B82 "Letters & Other Worlds." White Pelican, 1, No. 2 (Spring 1971), 4-5. Rpt. (revised) in boundary 2 [State Univ. of New York at Binghamton], [A Canadian Issue], 3, No. 1 (Fall 1974), 42-43. RJ; TTK.
See B204.
B83 "Spider Blues." White Pelican, 1, No. 2 (Spring 1971), 2-3. RJ (revised); TTK (revised).
B84 "White Dwarfs." IS., No. 10 (Summer 1971), n. pag. Rpt. (revised--"White Dwarfs:") in Tuatara [Victoria], [All-Canadian Issue], Nos. 8-9 (Fall 1972), pp. 105-06. Rpt. (revised--"White Dwarfs") in Poetry Canada Review, 2, No. 2 (Winter 1980-81), 7. RJ (revised); TTK (revised).
See B203.
B85 "Beaver." Writing [Ontario Issue], 10 (mid-Nov. 1971), 7. RJ.
B86 "The Harp." BlewOintment [Vancouver], poverty isshew, March 1972, p. 78.
B87 "Painful Cattle." BlewOintment [Vancouver], poverty isshew, March 1972, p. 78.
B88 "Charles Darwin Pays a Visit, December 1971:" Tuatara [Victoria], [All-Canadian Issue], Nos. 8-9 (Fall 1972), p. 103. RJ (revised--"Charles Darwin pays a visit, December 1971"); TTK (revised-"Charles Darwin Pays a Visit, December 1971").
B89 "M. Vaughn-James, The Projector, Coach House Press, Toronto, 1971, $7.50." Open Letter, Ser. 2, No. 2 (Summer 1972), p. 85.
This poem is a review of the book noted in the title. See B182.
B90 "Taking:". Tuatara [Victoria], [All-Canadian Issue], Nos. 8-9 (Fall 1972), p. 104. Rpt. in White Pelican, 3, No. 1 (Winter 1973), 38. RJ (revised--"Taking"); TTK.
B91 "Burning Hills." White Pelican, 3, No. 1 (Winter 1973), 36-37. RJ (revised--"Burning Hills: for Kris and Fred"); TTK (revised).
See B210.
B92 "Heron Rex:". White Pelican, 3, No. 1 (Winter 1973), 40. RJ (revised--"Heron Rex"); TTK.
B93 "Near Elginburg." White Pelican, 3, No. 1 (Winter 1973), 39. RJ (revised); TTK.
B94 "Rat Jelly:". White Pelican, 3, No. 1 (Winter 1973), 35. RJ (revised--"Rat Jelly"); TTK.
B95 "Bearhug." Saturday Night, March 1974, p. 42. TTK.
B96 "Outlaws, Light and Avacadoes: Dashiell." The Canadian Forum, March 1975, p. 26.
B97 "Outlaws, Light and Avacadoes: 'How long since I was sauntering across Piazza Erbe in Verona?'." The Canadian Forum, March 1975, p. 24.
B98 "Outlaws, Light and Avacadoes. Light: for Doris Gratiaen." The Canadian Forum, March 1975, p. 25. TTK (revised--"Light: for Doris Gratiaen").
B99 "Outlaws, Light and Avacadoes. Sallie Chisum / Last Words, 4 a.m.: for Nancy Beatty." The Canadian Forum, March 1975, p. 25. TTK (revised, expanded--"Sallie Chisum / Last Words on Billy the Kid. 4 A.M.").
B100 "Outlaws, Light and Avacadoes: Sallie Chisum//2." The Canadian Forum, March 1975, p. 26. TTK (expanded--"Sallie Chisum / Last Words on Billy the Kid. 4 A.M.").
B101 "Outlaws, Light and Avacadoes: The Agatha Christie Books by the Window." The Canadian Forum, March 1975, p. 25. Rpt. (revised--"The Agatha Christie Books by the Window") in Poetry Canada Review, 2, No. 2 (Winter 1980-81), 7. TTK.
B102 "Pure Memory / Chris Dewdney." The Capilano Review, No. 7 (Spring 1975), pp. 9-11. TTK (revised).
B103 "Walking to Bellrock." The Capilano Review, No. 7 (Spring 1975), pp. 125-27. TTK (revised).
B104 "Buck Lake Store Auction." Canadian Literature, No. 76 (Spring 1978), pp. 21-22. TTK (revised).
B105 "Country Night." Canadian Literature, No. 76 (Spring 1978), pp. 22-23. Rpt. (revised) in Poetry Canada Review, 2, No. 2 (Winter 1980-81), 7. TTK.
B106 "Campion, Sri Lanka, Cow Dust, Pig Glass & Late Movies: Farre off:". The Canadian Forum, Jan.-Feb. 1979, p. 24. TTK ("Farre Off").
B107 "Campion, Sri Lanka, Cow Dust, Pig Glass & Late Movies: Late Movies with Skyler." The Canadian Forum, Jan.-Feb. 1979, p. 26. Rpt. (revised--"Late Movies with Skyler") in Poetry Canada Review, 2, No. 2 (Winter 1980-81), 7. TTK (revised).
B108 "Campion, Sri Lanka, Cow Dust, Pig Glass & Late Movies: Pig Glass." The Canadian Forum, Jan.-Feb. 1979, p. 26. TTK ("Pig Glass").
B109 "Campion, Sri Lanka, Cow Dust, Pig Glass & Late Movies: Sweet Like a Crow for Hetti Corea, 8 years old." The Canadian Forum, Jan.-Feb. 1979, p. 25. TTK ("Sweet Like a Crow: for Hetti Corea, 8 years old"); RF (revised).
B110 "Campion, Sri Lanka, Cow Dust, Pig Glass & Late Movies: The Hour of Cowdust." The Canadian Forum, Jan.-Feb. 1979, p. 25. TTK (revised--"The Hour of Cowdust").
B111 "Campion, Sri Lanka, Cow Dust, Pig Glass & Late Movies: The Palace." The Canadian Forum, Jan.-Feb. 1979, p. 24. TTK (revised--"The Palace").
B112 "Running in the Family: High Flowers." The Capilano Review, Nos. 16-17 (Feb.-March 1979), pp. 35-36. Rpt. (revised--"High Flowers") in Westerly [Univ. of Western Australia], 27, No. 1 (March 1982), 70-71. RF (revised).
B113 "Running in the Family: To Colombo." The Capilano Review, Nos. 16-17 (Feb.-March 1979), p. 34. Rpt. ("[Returning from Sigiriya hills...]") in Toronto Life, Jan. 1982, p. 44. RF (revised--"To Colombo").
B114 "Running in the Family: Uswetakeiyawa." The Capilano Review, Nos. 16-17 (Feb.-March 1979), pp. 10-11. TTK (revised--"Uswetakeiyawa").
B115 "Where Cows Burn Like Newsprint: Real Life: (for Paul T.)." The Canadian Forum, April 1980, p. 42.
B116 "Where Cows Burn Like Newsprint: The Linguistic War between Men and Women:". The Canadian Forum, April 1980, p. 43.
B117 "Where Cows Burn Like Newsprint: ('The space in which we have dissolved--does it taste of us?')." The Canadian Forum, April 1980, p. 42.
B118 "Dates." Poetry Canada Review, 2, No. 2 (Winter 1980-81), 7. RJ; TTK.
See B206.
B119 "A House Divided." Poetry Canada Review, 2, No. 2 (Winter 1980-81), 7. DM; TTK.
See B198 ("The House Divided").
B120 "The Cinnamon Peeler." Brick, No. 12 (Spring 1981), [back cover]. RF (revised).
B121 "Claude Glass." Writing [David Thompson Univ. Centre], [A Special Sports Issue Dedicated to the Spirit of Pindar], No. 3 (Summer 1981), pp. 25-28. CG.
B122 "To a Sad Daughter: for Quinton." Writing [David Thompson Univ. Centre], [A Special Sports Issue Dedicated to the Spirit of Pindar], No. 3 (Summer 1981), pp. 23-24. TSD.
B123 "All along the Mazinaw:". Island [Lantzville, B.C.], No. 11 ([Winter] 1982], pp. 6-7.
B124 "Pacific Letter (After Rihaku & Pound) To S. of Rakuyo, ancient friend, pal o' mine." Ethos [Toronto], 1, No. 1 (Summer 1983), 19-20.
B125 "The River Neighbour (After Tu Fu)." Ethos [Toronto], 1, No. 1 (Summer 1983), 21.
B126 "Translations of My Postcards:". Ethos [Toronto], 1, No. 1 (Summer 1983), 20.
B127 "The Concessions." Descant, [No. 42], 14, No. 4 (Fall 1983), 7-11.
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Source: Brady, Judith (compiler); . Part 1: Works By Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 130-151 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP1.
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Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
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Source: Part 1: Works By Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 130-151
Part 1 Works By Michael Ondaatje; Contributions to periodicals and books; Reprinted anthology contributions: A selection
Brady, Judith (compiler)
B145 "Application for a Driving Licence," "As Thurber Would Say--C ws," "'Description Is a Bird...,'" "Henri Rousseau and Friends (for Bill Muysson)," "A House Divided," "In Another Fashion," "'Lovely the Country of peacocks,'" "O Troy's Down: Helen's Song," "The Republic," and "The Sows." In New Wave Canada: The New Explosion in Canadian Poetry. Ed. and introd. Raymond Souster. Toronto: Contact, 1966, pp. 138-41, 142-43, 144-45.
B146 "A House Divided." In Modern Canadian Verse: In English and French. Ed. and preface A. J. M. Smith. Toronto: Oxford Univ. Press, 1967, p. 424.
B147 "Martinique" and "Prometheus, with Wings." In Commonwealth Poets of Today. Ed. Howard Sergeant. London: John Murray, 1967, pp. 146-47.
B148 "Prometheus, with wings:". In The Penguin Book of Canadian Verse. Ed. and introd. Ralph Gustafson. Rev. ed. Harmondsworth, Eng.: Penguin, 1967, p. 268.
B149 "Bestiary:". In Printed Matter: An Anthology of Black Moss. Ed. and introd. Robert Hawkins. Windsor, Ont.: Sun Parlor, 1970, pp. [53-54].
B150 "The Diverse Causes," "Early Morning, Kingston to Gananoque," "Elizabeth," "For John, Falling," "'The gate in his head': For Victor Coleman," "A House Divided," "Peter," "Postcard from Piccadilly Street," "The Time Around Scars," and "We're at the Graveyard." In 15 Canadian Poets. Ed. and preface Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1970, pp. 251-63.
B151 "Gold and Black," "Kim, at half an inch," "King Kong meets Wallace Stevens," and "Notes for the Legend of Salad Woman." In Made in Canada: New Poems of the Seventies. Ed. and introd. Douglas Lochhead and Raymond Souster. Ottawa: Oberon, 1970, pp. 157-59.
B152 "Peter." In How Do I Love Thee: Sixty Poets of Canada (and Quebec) Select and Introduce Their Favourite Poems from Their Own Work. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1970, pp. 145-48.
B153 "The Barn." In The Story So Far. Ed. and preface George Bowering. Toronto: Coach House, 1971, pp. 26-27.
B154 "After Shooting Gregory." In Listen! Songs and Poems of Canada. Methuen Canadian Literature Series. Ed. and introd. Homer Hogan. Toronto: Methuen, 1972, p. 139.
B155 "As Thurber Would Say--C*ws," "'Description is a Bird,'" "Dragon," "The Goodnight," "Henri Rousseau and Friends (for Bill Muysson)," "'Lovely the Country of Peacocks,'" "Paris (Part II)," "Pyramid," "Selections from The Collected Works of Billy the Kid: Gregory, In Boot Hill, Pat Garrett, Poor William's Dead, These Are the Killed," and "Signature." In Poets of Contemporary Canada 1960-1970. Ed. and introd. Eli Mandel. New Canadian Library Original, No. O7. Toronto: McClelland and Stewart, 1972, pp. 125-35.
B156 "Peter." In Forum: Canadian Life and Letters 1920-70. Selections from The Canadian Forum. Ed. and preface J. L. Granatstein and Peter Stevens. Toronto: Univ. of Toronto Press, 1972, pp. 404-06.
B157 "'Description Is a Bird.'" In Marked by the Wild: An Anthology of Literature Shaped by the Canadian Wilderness. Ed. and introd. Bruce Littlejohn and Jon Pearce. Toronto: McClelland and Stewart, 1973, p. 140.
B158 "Dragon." In The Speaking Earth: Canadian Poetry. Ed. and preface John Metcalf. Toronto: Van Nostrand Reinhold, 1973, p. 95.
B159 "Letters & Other Worlds" and "Billy the Kid: [Garrett moved us straight to the nearest railway depot. We had...], [It is the order of the court that you be...], MISS SALLIE CHISUM: A COURTEOUS LITTLE GENTLEMAN:, MISS SALLIE CHISUM: GOOD FRIENDS:, and [No the escape was no surprise to me. I expected it. I really did,...]." In The Oxford Anthology of Canadian Literature. Ed. and preface Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 382-86.
B160 "Biography," "I Have Seen Pictures of Great Stars," and "Postcard from Piccadilly Street." In Canadian Anthology. Ed. and preface Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 578-79.
B161 Billy the Kid [play] [excerpt]. In Look Both Ways: Theatre Experiences. Ed. Herman Voaden. Toronto: Macmillan, 1975, pp. 177-85.
B162 "Elizabeth," "Letters & Other Worlds," and "We're at the Graveyard." In The Norton Anthology of Poetry. Ed. Alexander W. Allison, Herbert Barrows, Caesar R. Blake, Arthur J. Carr, Arthur M. Eastman, and Hubert M. English, Jr. Rev. ed. New York: Norton, 1975, pp. 1299-1302.
B163 "For John, Falling" and "Letters & Other Worlds." In Mirrors: Recent Canadian Verse. Ed. and introd. Jon Pearce. Toronto: Gage, 1975, pp. 99-101.
B164 "Song to Alfred Hitchcock and Wilkinson," "We're at the Graveyard," and "White Dwarfs." In The Penguin Book of Canadian Verse. Ed. and introd. Ralph Gustafson. 3rd ed. Harmondsworth, Eng.: Penguin, 1975, pp. 310-12.
B165 "Dates" and "Near Elginburg." In Green Snow: An Anthology of Canadian Poets of Asian Origin. Ed. and introd. Stephen Gill. Cornwall, Ont.: Vesta, 1976, pp. 53-55.
B166 "After Shooting Gregory," "Dates," "The End of It, Lying at the Wall," "Light," "The Street of the Slow Moving Animals," and "White Dwarfs." In Canadian Poetry: The Modern Era. Ed. and preface John Newlove. Toronto: McClelland and Stewart, 1977, pp. 180-87.
B167 "Biography," "Dates," "From The Collected Works of Billy the Kid: [After shooting Gregory], [She leans against the door], [The street of the slow moving animals]," "Henri Rousseau and Friends: For Bill Muysson," "Heron Rex," and "Pyramid." In Literature in Canada. Ed. and preface Douglas Daymond and Leslie Monkman. Vol. II. Toronto: Gage, 1978, 694-701.
B168 "The End of It, Lying at the Wall," "Signature," and "The Time Around Scars." In Transitions III: A Source Book Of Canadian Literature. Ed. Edward Peck. Foreword Al Purdy. Vancouver: CommCept, 1978, pp. 160-70.
B169 "King Kong Meets Wallace Stevens." In The Poets of Canada. Ed. and preface J. R. Colombo. Edmonton: Hurtig, 1978, p. 253.
B170 "Birth of Sound," "'The gate in his head': For Victor Coleman," "King Kong Meets Wallace Stevens," and "Letters & Other Worlds." In Introduction to Poetry: British, American, Canadian. Ed. Jack David and Robert Lecker. Toronto: Holt, Rinehart and Winston, 1981, pp. 676-79.
B171 "Breaking Green," "Burning Hills: For Kris and Fred," "The Cinnamon Peeler," "Letters & Other Worlds," and "Walking to Bellrock." In The New Oxford Book of Canadian Verse: In English. Ed. and introd. Margaret Atwood. Toronto: Oxford Univ. Press, 1982, pp. 404-13.
B172 "The Diverse Causes," "'The gate in his head': For Victor Coleman," "Henri Rousseau and Friends," "In Another Fashion," "King Kong Meets Wallace Stevens," "Letters & Other Worlds," "Peter," "Spider Blues," and "White Dwarfs." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto / Downsview, Ont.: General / ECW, 1982. Vol. II, 248-60.
B173 "Billboards," "Burning Hills: For Kris and Fred," "The Cinnamon Peeler," "Elizabeth," "Letters & Other Worlds," "Light: For Doris Gratiaen," "Lunch Conversation," "Near Elginburg," "Pig Glass," "Sallie Chisum/Last Words on Billy the Kid. 4 A.M.: For Nancy Beatty," and "The Time Around Scars." In Anthology of Canadian Literature in English. Ed. and introd. Donna Bennett and Russell Brown. Vol. II. Toronto: Oxford Univ. Press, 1983, 570-86.
B174 "Burning Hills: for Chris and Fred," "Buying the Dog," "Dates," "Dragons," "Elizabeth," "For John, Falling," "'The gate in his head': for Victor Coleman," "King Kong Meets Wallace Stevens," "Letters & Other Worlds," "Notes for the Legend of Salad Woman," "Sweet Like a Crow, for Hetti Corea, 8 years old," and "Women Like You: The Communal Poem--Sigiri Graffitti, 5th Century." In The Contemporary Canadian Poem Anthology. Ed. and introd. George Bowering. Toronto: Coach House, 1983. Vol. IV, 268-85.
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- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
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Brady, Judith (compiler)
B181 Rev. of A Controversy of Poets, ed. Paris Leary and Robert Kelly. Quarry, 15, No. 2 (Nov. 1965), pp. 44-45.
B182 Rev. of The Projector, by M. Vaughan-James. Open Letter, Ser. 2, No. 2 (Summer 1972), p. 85. A poem; see B89.
B183 Rev. of A Childhood: The Biography of a Place, by Harry Crews. biography, 3, No. 1 (Winter 1980), 84-86.
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
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B144 "The William Dawe Expedition 1916." Descant, [No. 42], 14, No. 4 (Fall 1983), 51-73.
Adapted from Robert Kroetsch's novel entitled Badlands.
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- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
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Brady, Judith (compiler)
B129 "Running in the Family: Historical Relations." The Capilano Review, Nos. 16-17 (Feb.-March 1979), pp. 20-23. RF (revised--"Historical Relations").
B130 "Running in the Family: Jaffna Afternoons." The Capilano Review, Nos. 16-17 (Feb.-March 1979), pp. 6-9. RF (revised--"Jaffna Afternoons").
B131 "Running in the Family: Kegalle (1)." The Capilano Review, Nos. 16-17 (Feb.-March 1979), pp. 29-32. RF [revised--"Kegalli (1)"].
B132 "Running in the Family: Last Morning." The Capilano Review, Nos. 16-17 (Feb.-March 1979), p. 43. RF (revised--"Last Morning").
B133 "Running in the Family: May 1978." The Capilano Review, Nos. 16-17 (Feb.-March 1979), p. 41. RF (revised--"Photograph").
B134 "Running in the Family: Sir John." The Capilano Review, Nos. 16-17 (Feb.-March 1979), pp. 37-40. RF (revised--"Sir John").
B135 "Running in the Family: The Courtship." The Capilano Review, Nos. 16-17 (Feb.-March 1979), pp. 12-15. RF (revised--"The Courtship").
B136 "Running in the Family: [To jungles and gravestones, reading torn 100-year-old newspaper...]." The Capilano Review, Nos. 16-17 (Feb.-March 1979), pp. 18-19. RF [revised--"Monsoon Notebook (i)"].
B137 "Running in the Family: Tongue." The Capilano Review, Nos. 16-17 (Feb.-March 1979), pp. 26-27. RF (revised--"Tongue").
B138 "Michael Ondaatje: two sections from Running in the Family. Harbour." The Camrose Review: a journal of lutheran thought, No. 1 [1982], p. 23. RF (revised--"Harbour").
B139 "Michael Ondaatje: two sections from Running in the Family. The Mail from Canada." The Camrose Review: a journal of lutheran thought, No. 1 [1982], p. 23.
B140 "Monsoon Notebook (iii)." Island [Lantzville, B.C.], No. II ([Winter] 1982), p. 5. RF [revised--"Monsoon Notebook (ii)"].
B141 "The Passions of Lalla." The Canadian Forum, Oct. 1982, pp. 17-21. Rpt. (revised, excerpt) in RUBICON [McGill Univ.], No. 1 (Spring 1983), p. [1]. RF (expanded). See B217.
B142 "Red Accordion: An Immigrant Song." The Malahat Review, No. 66 (Oct. 1983), pp. 99-101.
B143 "Bessie Smith at Roy Thomson Hall." Now [Toronto], 1-7 Dec. 1983, p. 15.
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Source: Brady, Judith (compiler); . Part 1: Works By Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 130-151 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP1.
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 1: Works By Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 130-151)
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Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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B128 "Austin." Periodics (A Magazine Devoted to Prose), No. 1 (Spring 1977), pp. 44-46.
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A10 To Say the Least: Canadian Poets from A to Z. Introd. P. K. Page. Toronto: Porcepic, 1979. 128 pp.
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A9 [underbar]and Mike Doyle. Planes. Toronto: Seripress, 1975.
Signed: Mike Doyle and P. K. Irwin. One portfolio. Includes five untitled [pen-and-ink] graphics (black-and-white) by Page.
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Record: 361- Title:
- Part 1 Works By P.K. Page; Books; Drawings by P.K. Irwin collected in galleries
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A11 Keyhole. National Gallery of Canada, Ottawa, No. 9047, 1958.
Wax crayon.
A12 Labyrinth. National Gallery of Canada, Ottawa, No. 16499, 1958.
Pen-and-ink wash.
A13 Bright Fish. National Gallery of Canada, Ottawa, No. 16134, 1959.
Etching and aquatint on Japanese imperial paper.
A14 Milkweed Forms. National Gallery of Canada, Ottawa, No. 9046, 1959.
Wax crayon and white chalk.
A15 Ship--Nocturnal. Art Gallery of Greater Victoria, Victoria, No. AGGV 66.43, 1959.
Etching of woven paper.
A16 All Souls. Ontario Art Gallery, Toronto, 1960.
Scratched crayon.
A17 A Kind of Osmosis. Ontario Art Gallery, Toronto, 1960.
Scratched crayon.
A18 Untitled. National Gallery of Canada, Ottawa, No. 16133, 1960.
Pen-and-ink wash.
A19 Dark Kingdom III. London Regional Art Gallery, London, Ont., n.d.
Scratched crayon.
A20 The Unmoving. Art Gallery of Greater Victoria, Victoria, No. AGGV 66.60, n.d.
Crayon and ink on woven paper.
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP1
p. 213-214 (2 p.) - Links:
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Source: Part 1: Works By P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 208-236
Part 1 Works By P.K. Page; Books; Manuscripts
Orange, John (compiler)
A56 P.K. Page Papers
Public Archives
Ottawa, Ontario
The collection is closed to all researchers without written permission from P. K. Page until the final general terms of access have been agreed upon. The collection was acquired in 1983 and includes original material for 1920s-1983.
Box I:
Ms. notebooks of published and unpublished poems (1933-44), notes (1939-43), ts. of "Divers," mss. and tss. of poems for The Metal and the Flower, mss. and tss. of poems for an unpublished collection (c. 1957), mss. and tss. of poems for Cry Ararat! Poems New and Selected, letters and notes by A. J. M. Smith relating to Cry Ararat! Poems New and Selected, mss. and, tss. of poems for P. K. Page: Poems Selected and New, notes relating to P. K. Page: Poems Selected and New, 3 notes (1973) to Margaret Atwood relating to P. K. Page: Poems Selected and New, and photocopies of previously published poems for P. K. Page: Poems Selected and New.
Box 2:
Mss. and tss. of poems for Evening Dance of the Grey Flies, letter (1969) from Margaret Atwood, and page proofs for Evening Dance of the Grey Flies.
Box 3:
Mss. and tss. of uncollected published poems, and mss. and tss. of unpublished poems and fragments.
Box 4:
Mss. and tss. of plays, and mss. and tss. of published short stories.
Box 5:
Mss. and tss. of critical and autobiographical writings.
Boxes 6-10:
Correspondence.
Boxes 11-18:
Subject files.
Boxes 18-19:
Material on To Say the Least: Canadian Poets from A to Z.
Boxes 19-20:
Art files.
Box 21:
Personal material, memorabilia, and photographs.
Box 22:
Art files and sound recordings.
Box 23:
Correspondence.
A57 Patrick M. Anderson Papers
Public Archives
Ottawa, Ontario
The Patrick M. Anderson Papers holds 3 letters from P. K. Page to Patrick Anderson dated 13 August 1974 (2 pages), 26 March 1975 (2 pages), 26 March 1976 (2 pages).
A58 The Crawley Collection
Douglas Library Archives
Queen's University
Kingston, Ontario
The Crawley Collection contains 30 letters from P. K. Page. One of these is to Ethel Wilson; the others are to Alan Crawley and to his wife, Jean Crawley.
A59 The Jori Smith Papers
Public Archives
Ottawa, Ontario
The Jori Smith Papers contains letters from P. K. Page to Jori Smith, n.d. [1940s, 1950s, 1960-78]. Access to this material is closed during Page's lifetime, except with her permission.
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
Item Number: ABCMA06PPP1000006004001009
Record: 363- Title:
- Part 1 Works By P.K. Page; Books; Novel and short stories
- Other Title:
- Part 1 Works By P.K. Page; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP1
p. 210-211 (2 p.) - Links:
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Source: Part 1: Works By P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 208-236
Part 1 Works By P.K. Page; Books; Novel and short stories
Orange, John (compiler)
A7 The Sun and the Moon. New York: Creative Age, 1944. 200 pp.
[underbar]Toronto: Macmillan, 1944. 200 pp.
Signed: Judith Cape.
A8 The Sun and the Moon and Other Fictions. Introd. Margaret Atwood. Found Books. Toronto: House of Anansi, 1973. 204 pp.
Includes "As One Remembers a Dream," "George" (B231), "The Glass Box," "The Green Bird" (B222), "The Lord's Plan" (B221), "Miracles" (B229), "The Neighbour" (B220), "The Sun and the Moon" (A7), and "The Woman" (B233).
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
Item Number: ABCMA06PPP1000006004001002
Record: 364- Title:
- Part 1 Works By P.K. Page; Books; Play
- Other Title:
- Part 1 Works By P.K. Page; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP1
p. 213 (1 p.) - Links:
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Source: Part 1: Works By P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 208-236
Part 1 Works By P.K. Page; Books; Play
Orange, John (compiler)
A54 Silver Pennies or The Land of Honesty. Children's Theatre, St. John, N.B.C. 1935.
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
Item Number: ABCMA06PPP1000006004001007
Record: 365- Title:
- Part 1 Works By P.K. Page; Books; Poetry
- Other Title:
- Part 1 Works By P.K. Page; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP1
p. 208-210 (3 p.) - Links:
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Source: Part 1: Works By P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 208-236
Part 1 Works By P.K. Page; Books; Poetry
Orange, John (compiler)
[underbar]
A1 As Ten, as Twenty. Toronto: Ryerson, 1946. 43 pp.
Includes "Adolescence" (B61), "Average" (B51), "The Bands and the Beautiful Children" (B50), "The Condemned (For L. O.)" (B64), "Contagion" (B65), "Divers" (B37), "Election Day" (B81), "Element" (B55), "Failure at Tea" (B34), "Generation" (B24), "If It Were You" (B69), "Isolationist" (B30), "Landlady" (B53), "Love Poem: [For we can live now, love . . .]" (B42), "Magnetic North" (B60), "The Mole" (B17), "Only Child" (B72), "Personal Landscape" (B20), "Poem: [Let us by paradox . . .]" (B49), "Round Trip" (B62), "The Sick" (B57), "Spring" (B63), "The Stenographers" (B19), "Stories of Snow" (B67), and "Waking" (B32).
A2 The Metal and the Flower. Indian File, No. 7. Toronto: McClelland and Stewart, 1954. 64 pp.
Includes "Arras," "Boy With a Sea Dream," "Bright Fish Once Swimming Where We Lie...," "Christmas Eve--Market Square" (B91), "Elegy" (B112), "The Event" (B113), "The Figures," "Freak" (B82), "Green Little Corn," "Images of Angels," "Intractable Between Them Grows...," "Man With One Small Hand" (B85), "The Map" (B103), "Mineral" (B86), "Morning, Noon And Night" (B74), "Mystics Like Miners" (B98), "Nightmare" (B114), "Paranoid" (B94), "The Permanent Tourists" (B99), "Photos of a Salt Mine" (B109), "Piece for a Formal Garden" (B75), "Poem: [Look, look, he took me straight . . .]" (B111), "Portrait of Marina" (B110), "Probationer" (B104), "Puppets" (B89), "Reflection in a Train Window," "Sailor" (B76), "Sisters" (B83), "Sleeper" (B93), "Subjective Eye" (B79), "Summer" (B105), "T-Bar" (B208), "Virgin" (B78), and "Young Girls" (B84).
A3 Cry Ararat! Poems New and Selected. Toronto: McClelland and Stewart, 1967. 111 pp.
Includes the following poems: "Adolescence" (B61), "After Rain" (B115), "The Apple," "Arras" (A2), "As Ten as Twenty" (B42), "The Bands and the Beautiful Children" (B50), "Bark Drawing" (B118), "Blowing," "Boy With a Sea Dream" (A2), "Brazilian Fazenda" (B119), "Christmas Eve--Market Square" (B91), "Cook's Mountain," "Cry Ararat!", "Cullen" (B28), "Dark Kingdom," "Election Day" (B81), "Element" (B55), "The Event" (B113), "Foreigner" (B47), "Generation" (B24), "Giovanni and the Indians" (B116), "The Glass Air" (B117), "Images of Angels" (A2), "In a Ship Recently Raised from the Sea," "Journey Home" (B60), "The Knitters" (B120), "The Landlady" (B53), "Little Girls" (B58), "Love Poem: [Remembering you and reviewing . . .]" (B66), "Man with One Small Hand" (B85), "The Metal and the Flower" (A2--"Intractable Between Them Grows"), "Mineral" (B86), "Morning, Noon and Night" (B74), "Nightmare" (B114), "No Flowers" (B14), "Now this Cold Man . . ." (B63), "On Educating the Natives" (B148), "Only Child" (B72), "The Permanent Tourists" (B99), "Personal Landscape" (B20), "Photos of a Salt Mine" (B109), "Poem in War Time" (B49), "Portrait of Marina" (B110), "Probationer" (B104), "Puppets" (B89), "Rage," "The Snowman" (B121), "Some There Are Fearless" (B18), "The Stenographers" (B19), "Stories of Snow" (B67), "T-Bar" (B208), "The Tall Suns," "This Frieze of Birds," "To a Portrait in a Gallery" (B108), "Virgin" (B78), "Waking" (B32), and "Young Girls" (B84).
Includes details from the following illustrations: And You, What do you Seek?, The Dance, The Garden, In the Wake, Labyrinth (A12), Night Garden (B334), and World Within World.
Also includes a glossary of Australian terms and an Index.
A4 P.K. Page: Poems Selected and New. Toronto: House of Anansi, 1974. 149 pp.
Includes "Adolescence" (B61), "After Rain" (B115), "Another Space" (B122), "The Apple" (A3), "Arras" (A2), "As Ten as Twenty" (B42), "A Backwards Journey" (B123), "The Bands and the Beautiful Children" (B50), "Bank Strike: Quebec--1942" (B26), "Blowing Boy" (B80), "Brazilian Fazenda" (B119), "Brazilian House," "Chimney Fire," "Christmas Eve--Market Square" (B91), "The Condemned (For L. O.)" (B64), "Contagion" (B65), "Cook's Mountains" (A3), "Cross," "Cry Ararat!" (A3), "Cullen" (B28), "Election Day" (B81), "Element" (B55), "Failure at Tea" (B34), "The Flower and the Rock," "Freak" (B82), "Generation" (B24), "The Glass Air" (B117), "If It Were You" (B69), "Images of Angels" (A2), "The Inarticulate" (B39), "Isolationist" (B30), "Journey Home" (B60), "The Knitters" (B120), "The Landlady" (B53), "Leather Jacket" (B133), "Leviathan in a Pool" (B143), "Little Girls" (B58), "Love Poem: [Remembering you and reviewing...]" (B66), "Man with One Small Hand" (B85), "Masqueraders" (B154), "The Metal and the Flower" (A2--"Intractable Between Them Grows"), "Mineral" (B86), "Morning, Noon and Night" (B74), "The Murder," "Now this Cold Man . . ." (B63), "Nursing Home," "Offices" (B43), "Only Child" (B72), "Outcasts" (B70), "Paranoid" (B94), "The Permanent Tourists" (B99), "Personal Landscape" (B20), "Photograph" (B46), "Photos of a Salt Mine" (B109), "Poem in War Time" (B49), "Portrait of Marina" (B110), "Prediction without Crystal" (B25), "Preparation" (B144), "Presentation" (B88), "Probationer" (B104), "Puppets" (B89), "Rage" (A3), "The Sentimental Surgeon" (B48), "Shaman," "Shipbuilding Office" (B38), "The Sick" (B57), "Sisters" (B83), "Sleeper" (B93), "The Snowman" (B121), "Some There Are Fearless" (B18), "Stories of Snow" (B67), "Storm in Mexico" (B149), "The Stenographers" (B19), "Summer Resort" (B44), "T-Bar" (B208), "They Might Have Been Zebras," "Truce," "Typists" (B29), "Unable to Hate or Love" (B73), "Vegetable Island" (B100), "Waking" (B32), "War Lord in the Early Evening," "Water and Marble," "Young Girls" (B84), and "Your Hand Once . . ." (B155).
A5 Evening Dance of the Grey Flies. Toronto: Oxford Univ. Press, 1981. 95 pp.
Includes the following poems: "About Death" (B184), "After Donne" (B202), "After Reading Albino Pheasants" (B188), "Ancestors" (B166), "At Sea" (B180), "The Child" (B159), "Chinese Boxes," "Conchita Knows Who Who Is" (B200), "Cullen Revisited" (B142), "Custodian," "Difficult" (B181), "The Disguises" (B182), "Domestic Poem for a Summer Afternoon" (B183), "Dot," "Dwelling Place" (B174), "Ecology" (B129), "Evening Dance of the Grey Flies" (B185), "The Filled Pen" (B206), "Finches Feeding" (B160), "The First Part" (B197), "The Flower Bed" (B176), "Fly: On Webs" (B124), "For Mstislav Rostropovich with Love" (B157), "Full Moon" (B201), "A Grave Illness" (B177), "The Maze" (B158), "Motel Pool" (B190), "Ours," "Out Here: Flowering" (B204), "Phone Call from Mexico" (B164), "The Selves" (B178), "Short Spring Poem for the ShortSighted" (B191), "Snowshoes" (B137), "Song . . . Much of It Borrowed" (B189), "Star-gazer" (B205), "Stefan" (B151), "The Tethers" (B207), "Three Gold Fish" (B131), "The Trail of Bread" (B172), "Traveller's Palm" (B128), "Voyager" (B179), and "The Yellow People in Metamorphosis" (B146).
Also includes the short story "Unless the Eye Catch Fire..." (B235).
A6 Five Poems. [Pamphlet.] lines, [Ser. 1.] [Toronto]: League of Canadian Poets, [1981]. [1 leaf.]
Includes "After Donne" (B202), "A Grave Illness" (B177), "Evening Dance of the Grey Flies: For Chris" (B185), "Phone Call from Mexico" (B164), and "The Typesetter Star-gazes" (B205).
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
Item Number: ABCMA06PPP1000006004001001
Record: 366- Title:
- Part 1 Works By P.K. Page; Books; Scripts for film strips
- Other Title:
- Part 1 Works By P.K. Page; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP1
p. 211-213 (3 p.) - Links:
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Source: Part 1: Works By P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 208-236
Part 1 Works By P.K. Page; Books; Scripts for film strips
Orange, John (compiler)
A21 Here's Your Man. Narr. David Catton. Prod. Forbes Helem. Co-director Gerald Rowan. National Film Board, 1946. (Black-and-white; 47 frames.)
A22 Nine To Get Ready. Prod. Forbes Helem. National Film Board, 1946. (Colour; script or recording; 54 frames.)
A23 Peter, Polly and the Policeman. Prod. Hugh O'Connor. Dir. J. Licastro. National Film Board, 1946. (Colour; script; 32 frames.)
A24 Binning and Stacking. Narr. Charles Miller. Co-director Gerald Rowan. National Film Board, 1947. (44 frames.)
A25 Calling 7-2847. Prod. Fred Anders. National Film Board, 1947. (Black-and-white; script; 21 frames.)
A26 Don't Be Shocked. Prod. [Gudrun Parker?]. National Film Board, 1947. (Colour; silent; script; 24 frames.)
A27 Films Serve the Community. Prod. Fred Anders. National Film Board, 1947. (Black-and-white; silent; script; 55 frames.)
A28 I Am a Letter. Prod. Fred Anders. National Film Board, 1947. (Colour; silent; script; 21 frames.)
A29 The Internal Triangle. Prod. Fred Anders. National Film Board, 1947. (Colour; silent; captions and script; 50 frames.)
A30 Introducing Baby. Prod. Forbes Helem. Acting prod. Fred Anders. National Film Board, 1947. (Colour; script or recording; 58 frames.)
A31 Introducing Filmstrips. Prod. Fred Anders. National Film Board, 1947. (Black-and-white; script; 39 frames.)
A32 Location System. National Film Board. 1947. (44 frames.)
A33 Sweet Sap. National Film Board, 1947. Blackand-white; script; 25 frames.)
A34 Timber: From Forest to House. Prod. Fred Anders. National Film Board, 1947. (Black-and-white; captions and script; 24 frames.)
A35 The Violin. Prod. Forbes Helem. National Film Board, 1947. (Black-and-white; silent; script; 21 frames.)
A36 Use Your Head, Save Your Neck. Prod. Forbes Helem. National Film Board, 1947. (Black-and-white; script or recording; 47 frames.)
A37 Feminine Hygiene. Prod. Lionel Reid. National Film Board, 1948. (Colour; cartoon; silent; teaching script; 34 frames.)
A38 Four Modern Tapestries. Prod. Fred Anders. National Film Board, 1948.
A39 Health of the People. Prod. Fred Anders. National Film Board, 1948. (Colour; 59 frames.)
A40 A Loaf of Bread. National Film Board, 1948. (Colour; captions and teaching script; 23 frames.)
A41 Narcotics Training Filmstrip. Part I: Drug Addiction; Part II: Morphine; Part III: The Nature of Drug Addiction; Part IV: Drug Addict. Prod. Fred Anders. National Film Board, 1948. (203 frames.)
A42 Stamps and How They Are Made. Prod. Fred Anders. National Film Board, 1948. (Black-and-white; silent; captions and script; 35 frames.)
A43 The Story of Wheat. National Film Board, 1948. (Black-and-white; silent; captions and teaching script; 33 frames.)
A44 Brush Up on Your Teeth. Prod. Forbes Helem. Dir. and acting prod. Fred Anders. National Film Board, 1949. (Colour; cartoon; silent; script; 41 frames.)
A45 The Canadian Eskimo. Prod. Fred Anders. National Film Board, 1949. (Black-and-white; silent; captions and teaching notes; 39 frames.)
A46 Health Grants and the Jones'. Prod. Lionel Reid. Dir. J. Simpkins and Fred Anders. National Film Board, 1949. (Black-and-white; silent; 34 frames.)
A47 If the Shoe Fits. Prod. Fred Anders. National Film Board, 1949. (Black-and-white; cartoons; silent; captions; 51 frames.)
A48 Lobster Fishing. National Film Board, 1949. (Black-and-white; silent; captions and script; 29 frames.)
A49 Making the Most of Your LMPC. Prod. Fred Anders. National Film Board, 1949. (Colour; 67 frames.)
A50 Oil in the Modern World. Prod. Lionel Reid. National Film Board, 1949. (Black-and-white; silent; captions and teaching notes; 31 frames.)
A51 Teeth Are to Keep. Narr. Allan Mills. Prod. Tom Daly. Dir. J. Mackay. National Film Board, 1949. (Colour; animation; 35 mm. and 16 mm.; 11 min.)
A52 Ten Little People and Their Teeth. Exec. prod. Lionel Reid. Prod. Fred Anders. National Film Board, 1949. (Colour; cartoon; silent; script; 33 frames.)
A53 Geographical Regions of Canada. Prod. and dir. Lionel Reid. National Film Board, 1951. (Colour; silent; script; 62 frames.)
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
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Record: 367- Title:
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- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Source: Part 1: Works By P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 208-236
Part 1 Works By P.K. Page; Books; Theatrical production
Orange, John (compiler)
A55 Co-Producer. Prince Attila's Journey to the End of the World. 1981.
A puppet show.
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
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- Annotated bibliography of Canada's major authors, no. 6
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- Orange, John (compiler)
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- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP1
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Source: Part 1: Works By P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 208-236
Part 1 Works By P.K. Page; Contributions to periodicals and books; Audio-visual material
Orange, John (compiler)
B336 Untitled [A million in us breathe...]. Narr. Alice Mather. In "The Poetry of P. K. Page." Commentator Byng Whittaker. CBC Wednesday Night. Prod. Helen James. Ed. Robert Weaver. CBC Radio, 23 Nov. 1949.
B337 "The Bands and the Beautiful Children." Narr. Alice Mather. In "The Poetry of P. K. Page." Commentator Byng Whittaker. CBC Wednesday Night. Prod. Helen James. Ed. Robert Weaver. CBC Radio, 23 Nov. 1949. Rerecorded. Narr. P. K. Page. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 16 July 1967. Rerecorded. Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The 1967 tape also includes an interview (C155). The 1982 tape also includes Page's comments on her poems and an interview (C163). See also TT, CA, P.K.P, and B50.
B338 "Bank Strike." Narr. Alice Mather. In "The Poetry of P. K. Page." Commentator Byng Whittaker. CBC Wednesday Night. Prod. Helen James. Ed. Robert Weaver. CBC Radio, 23 Nov. 1949.
See P. K. P ("Bank Strike: Quebec--1942") and B26 ("Bank Strike").
B339 "Christmas Eve--Market Square." Narr. Alice Mather. In "The Poetry of P. K. Page." Commentator Byng Whittaker. CBC Wednesday Night. Prod. Helen James. Ed. Robert Weaver. CBC Radio, 23 Nov. 1949.
See MF, CA, P.K.P, and B91.
B340 "The Condemned." Narr. Alice Mather. In "The Poetry of P. K. Page." Commentator Byng Whittaker. CBC Wednesday Night. Prod. Helen James. Ed. Robert Weaver. CBC Radio, 23 Nov. 1949.
See TT ["The Condemned (For L. O.)"], P.K.P, and B64 ("The Condemned").
B341 "Landlady." Narr. Alice Mather. In "The Poetry of P. K. Page." Commentator Byng Whittaker. CBC Wednesday Night. Prod. Helen James. Ed. Robert Weaver. CBC Radio, 23 Nov. 1949.
See CA, P.K.P, and B53.
B342 "Paranoid." Narr. Alice Mather. In "The Poetry of P. K. Page." Commentator Byng Whittaker. CBC Wednesday Night. CBC Radio, 23 Nov. 1949.
See MF, P.K.P, and B94 ("Portrait").
B343 "The Permanent Tourists." Narr. Alice Mather. In "The Poetry of P. K. Page." Commentator Byng Whittaker. CBC Wednesday Night. Prod. Helen James. Ed. Robert Weaver. CBC Radio, 23 Nov. 1949. Rerecorded. Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The 1982 tape also includes Page's comments on her poems and an interview (C163). See also MF, CA, P.K.P, and B99.
B344 "Poem: [Let us by paradox . . .]." Narr. Alice Mather. In "The Poetry of P. K. Page." Commentator Byng Whittaker. CBC Wednesday Night. Prod. Helen James. Ed. Robert Weaver. CBC Radio, 23 Nov. 1949.
See CA ("Poem in War Time"), P.K.P, and B49 ("Poem: [Let us by paradox...]").
B345 "Portrait of Marina." Narr. Alice Mather. In "The Poetry of P. K. Page." Commentator Byng Whittaker. CBC Wednesday Night. Prod. Helen James. Ed. Robert Weaver. CBC Radio, 23 Nov. 1949.
See MF, CA, P.K.P, and B110.
B346 "Stories of Snow." Narr. Alice Mather. In "The Poetry of P. K. Page." Commentator Byng Whittaker. CBC Wednesday Night. Prod. Helen James. Ed. Robert Weaver. CBC Radio, 23 Nov. 1949. Rebroadcast. Narr. P. K. Page. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 16 July 1967. Rerecorded. Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The 1967 tape also includes an interview (C155). The 1982 tape also includes Page's comments on her poems and an interview (C163). See also TT, CA, P.K.P, and B67.
B347 "Arras." Narr. P. K. Page. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 16 July 1967. Rerecorded. Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The 1967 tape also includes an interview (C155). The 1982 tape also includes Page's comments on her poems and an interview (C163). See also MF, CA, and P.K.P.
B348 "Brazilian Fazenda." Narr. P. K. Page. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 16 July 1967. Rerecorded. Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The 1967 tape also includes an interview (C155). The 1982 tape also includes Page, comments on her poems and an interview (C163). See also CA, P.K.P, and B119.
B349 "The Mole." Narr. P. K. Page. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 16 July 1967.
Also includes an interview (C155). See also TT and B17.
B350 Contributor. Profile of Alan Crawley. Anthology. CBC Radio, 30 Nov. 1968.
B351 "Backwards Journey." Narr. P. K. Page. In "Canadian Poets Reading." Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 30 Oct. 1971. Rerecorded. Narr. P. K. Page. Eleven Canadian Poets. Edmonton: J. M. LeBel, 1973. (L.p., 1 min. 15 sec.) Rerecorded. Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
Eleven Canadian Poets also includes a brochure on which the text is printed. The 1982 recording also includes an interview (C163). See also P.K.P and B123.
B352 Contributor. "A. M. Klein: A Portrait of the Poet." By Seymour Mayne. Encore. Prod. Bill Terry. CBC Radio, 6 Nov. 1973.
B353 "Leviathan in a Pool." Narr. P. K. Page. Eleven Canadian Poets. Edmonton: J. M. LeBel, 1973. (L.p., 4 min. 29 sec.)
The record also includes Page's comments on this poem and a brochure on which the text is printed.
B354 "Stefan." Narr. P. K. Page. Eleven Canadian Poets. Edmonton: J. M. LeBel, 1973. (L.p., 27 sec.) Rerecorded. Narr. P. K. Page. Gzowski on FM. CBC-FM Radio, 2 April 1976. Rebroadcast 28 April 1977. Rerecorded. Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
Eleven Canadian Poets includes Page's comments on this poem and a brochure on which the text is printed. The 1976 and 1977 tapes include an interview (C160). The 1982 tape includes Page's comments on her poems and an interview (C163). See also EDGF and B151.
B355 "Traveller's Palm." Narr. P. K. Page. Poets on Film, No. 2. Prod. Guy Glover and Wolfe Koenig. National Film Board, 1977. (Colour; 7 min., 55 sec.) Rerecorded. Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The 1982 tape also includes Page's comments on her poems and an interview (C163). See also EDGF and B128.
B356 "Another Space." Narr. P. K. Page. Gzowski on FM. CBC-FM Radio, 2 April 1976. Rebroadcast 28 April 1977. Rerecorded. Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The 1976 and 1977 tapes include an interview (C160). The 1982 tape includes Page's comments on her poems and an interview (C163). See also P.K.P and B122.
B357 "Leather Jacket." Narr. P. K. Page. Gzowski on FM. CBC-FM Radio, 2 April 1976. Rebroadcast 28 April 1977. Rerecorded. Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The 1976 and 1977 tapes also include an interview (C160). The 1982 tape also includes Page's comments on her poems and an interview (C163). See also P.K.P and B133.
B358 "Phone Call from Mexico." Narr. P. K. Page. Gzowski on FM. CBC-FM Radio, 2 April 1976. Rebroadcast 28 April 1977. Rerecorded. Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The 1976 and 1977 tapes also include an interview (C160). The 1982 tape also includes Page's comments on her poems and an interview" (C163).
See also EDGF, FP, and B164.
B359 "The Snowman." Narr. P. K. Page. Gzowski on FM. CBC-FM Radio, 2 April 1976. Rebroadcast 28 April 1977.
The tapes also include an interview (C160). See also CA, P.K.P, and B121.
B360 "Adolescence." Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
Includes Page's comments on her poems and an interview (C163). See also TT, CA, P.K.P, and B61.
B361 "After Rain." Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
Includes Page's comments on her poems and an interview (C163). See also CA, P.K.P, and B115.
B362 "Cook's Mountains." Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
Includes Page's comments on her poems and an interview (C163). See also CA and P.K.P.
B363 "Election Day." Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
Includes Page's comments on her poems and an interview (C163). See also TT, CA, P.K.P, and B81.
B364 "The Stenographers." Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
Includes Page's comments on her poems and an interview (C163). See also TT, CA, P.K.P, and B19.
B365 "T-Bar." Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
Includes Page's comments on her poems and an interview (C163). See also MF, CA, and P.K.P.
B366 "The Typesetter Star-Gazes." Narr. P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
Includes Page's comments on her poems and an interview (C163). See also EDGF, FP, and B205.
B367 Libretto. The Travelling Musicians. Music Murray Adaskin. Conducted Paul Freeman. Narr. Catherine Lewis. Mostly Music. CBC Radio, 13 Feb. 1984.
See B335.
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
Item Number: ABCMA06PPP1000006004002009
Record: 369- Title:
- Part 1 Works By P.K. Page; Contributions to periodicals and books; Drawings
- Other Title:
- Part 1 Works By P.K. Page; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP1
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Source: Part 1: Works By P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 208-236
Part 1 Works By P.K. Page; Contributions to periodicals and books; Drawings
Orange, John (compiler)
B318 Jungle. The Tamarack Review, No. 15 (Spring 1960), p. [48B].
Signed: P. K. Irwin. Ink drawing reproduction.
B319 Stone Fruit. The Tamarack Review, No. 15 (Spring 1960), p. [48C].
Signed: P. K. Irwin. Colour crayon reproduction.
B320 [Aladdin's Ship.] The Tamarack Review, No. 15 (Spring 1960), p. [48D].
Signed: P. K. Irwin. Etching reproduction.
B321 This Church My Dromedary. The Tamarack Review, No. 15 (Spring 1960), p. [48A].
Signed: P. K. Irwin. Colour crayon reproduction.
B322 Anchorage. Canadian Art, 20, No. 1 [No. 83] (Jan.-Feb. 1963), 43.
Signed: P. K. Irwin. Pen drawing reproduction.
B323 Cosmos. Canadian Art, 20, No. 1 [No. 83] (Jan.-Feb. 1963), 44.
Signed: P. K. Irwin. Wax crayon reproduction.
B324 Dark Keyhole. Canadian Art, 20, No. 1 [No. 83] (Jan.-Feb. 1963), 43. Rpt. in Painting with Crayons: History and Modern Techniques. By Norman Laliberte and Alex Mogelon. New York: Reinhold, 1967, p. 12.
Signed: P. K. Irwin. Wax crayon reproduction.
B325 Glass-House. Canadian Art, 20, No. 1 [No. 83] (Jan.-Feb. 1963), 45.
Signed: P. K. Irwin. Egg tempera reproduction.
B326 In What High City. Canadian Art, 20, No. 1 [No. 83] (Jan.-Feb. 1963), 45.
Signed: P. K. Irwin. Egg tempera reproduction.
B327 Two Forms. Canadian Art, 20, No. 1 [No. 83] (Jan.-Feb. 1963), 44.
Signed: P. K. Irwin. Ink eradicator on dark ground reproduction.
B328 Who in This Bowling Alley Bowl'd the Sun?. Canadian Art, 20, No. 1 [No. 83] (Jan.-Feb. 1963), 42.
Signed: P. K. Irwin. Wax crayon reproduction.
B329 Untitled. Canadian Literature, No. 46 (Autumn 1970), p. 39.
Signed: P. K. Irwin. [Pen-and-ink reproduction.]
B330 Untitled. Canadian Literature, No. 46 (Autumn 1970), p. 42.
Signed: P. K. Irwin. Perhaps this drawing illustrates the poem following it entitled "The Dome of Heaven" (B135). [Crayon reproduction.]
B331 [The Third Ear.] Canadian Literature, No. 50 (Autumn 1971), p. 29.
Signed: P. K. Irwin. Accompanies the poem "Leviathan in a Pool" (B143). [Pen-and-ink reproduction.]
B332 A Corner of H.'s Garden. Canadian Literature, No. 90 (Autumn 1981), p. 56.
Accompanies "Extracts from a Brazilian Journal" (B315).
B333 Our House. Canadian Literature, No. 90 (Autumn 1981), p. 53.
Accompanies "Extracts from a Brazilian Journal" (B315).
B334 Night Garden. Poetry Canada Review, 3, No. 3 (Spring 1982), 8. Rpt. in The Malahat Review, No. 67 (Feb. 1984), [front cover]. CA (detail).
Black-and-white crayon reproduction in Poetry Canada Review; colour crayon reproduction in The Malahat Review.
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
Item Number: ABCMA06PPP1000006004002007
Record: 370- Title:
- Part 1 Works By P.K. Page; Contributions to periodicals and books; Essays
- Other Title:
- Part 1 Works By P.K. Page; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP1
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Source: Part 1: Works By P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 208-236
Part 1 Works By P.K. Page; Contributions to periodicals and books; Essays
Orange, John (compiler)
B304 "Canadian Poetry 1942." Preview, Oct. 1942, pp. 8-9.
B305 "Some Aspects of the War: A Civilian Report. 1. The Stenographers." Preview, Feb. 1943, pp. [1-2].
B306 "Questions and Images." Canadian Literature, No. 41 (Summer 1969), pp. 17-22. Rpt. in The Sixties: Canadian Writers and Writing of the Decade. A Symposium to Celebrate the Tenth Anniversary of Canadian Literature. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, pp. 17-22.
B307 "P. K. Page: Arras." In How Do I Love Thee: Sixty Poets of Canada (and Quebec) Select and Introduce Their Favourite Poems from Their Own Work. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1970, p. 26.
B308 "Maxwell Bates: The Print Gallery, Victoria, Feb.-March 1970." In artscanada, 27, No. 2 (April 1970), 62.
B309 "Traveller, Conjuror, Journeyman." Canadian Literature, No. 46 (Autumn 1970), pp. 35-41.
B310 "Darkinbad and Brightdayler: Transmutation Symbolism in the Work of Pat Martin Bates." artscanada, 28, No. 2 [Nos. 154-55] (April-May 1971), pp. 35-40.
B311 "The Sense of Angels." Jewish Dial-og, Passover 1973, pp. 18-19.
B312 Introduction. In tranceform. By Penny Chalmers. Victoria: Soft, [1975?], n. pag.
B313 "Pat Lowther: A Tribute." CV/II, 2, No. 1 (Jan. 1976), 16.
B314 Introduction. In The School-Marm Tree. By Howard O'Hagan. Vancouver: Talonbooks, 1977, pp. 7-10.
B315 "Extracts from a Brazilian Journal." Canadian Literature, No. 90 (Autumn 1981), pp. 40-59.
Also contains two drawings: A Corner of H.'s Garden (B332) and Our House (B333).
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
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Record: 371- Title:
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- Part 1 Works By P.K. Page; Contributions to periodicals and books
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 1 Works By P.K. Page; Contributions to periodicals and books; Letters
Orange, John (compiler)
B316 Letter. Northern Review, 2, No. 1 (Oct.-Nov. 1947), 38. Rpt. ("Letter to Northern Review") in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, p. 110.
B317 "Montreal Poets." Canadian Literature, No. 45 (Summer 1970), p. 103.
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
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Record: 372- Title:
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- Part 1 Works By P.K. Page; Contributions to periodicals and books
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- Annotated bibliography of Canada's major authors, no. 6
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- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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B335 The Travelling Musicians. Music Murray Adaskin. Victoria Symphony, Victoria, B.C., [1984?].
See B367.
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
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- Part 1 Works By P.K. Page; Contributions to periodicals and books
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- Annotated bibliography of Canada's major authors, no. 6
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- Orange, John (compiler)
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- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP1
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Part 1 Works By P.K. Page; Contributions to periodicals and books; Poems
Orange, John (compiler)
Note: When an item is reprinted in one of Page's books, this fact is noted in the entry through one of the following abbreviations:
As Ten, as Twenty ..........................TT
Cry Ararat! Poems New and Selected .........CA
Evening Dance of the Grey Flies ..........EDGF
Five Poems .................................FP
The Metal and the Flower ...................MF
P. K. Page: Poems Selected and New ......P.K.P
The Sun and the Moon .......................SM
The Sun and the Moon
and Other Fictions ...................SMOF
B1 "The Moth." The Observer, 2 Dec. 1934, p. 35.
B2 "The Chinese Rug." Canadian Bookman, 17, No. 5 (June 1935), 73.
B3 "Design." Canadian Poetry Magazine, 4, No. 1 (July 1939), 23.
B4 "The Parade." Canadian Poetry Magazine, 4, No. 1 (July 1939), 22.
B5 "Reflection." Canadian Poetry Magazine, 4, No. 1 (July 1939), 23.
B6 "The Understatement." Saturday Night, 22 June 1940, p. 2.
B7 "For G. E. R." Canadian Poetry Magazine, 5, No. 2 (Dec. 1940), 35-36.
B8 "Candlelight." Canadian Poetry Magazine, 5, No. 4 (Aug. 1941), 38.
B9 "The Crow." Contemporary Verse, 1, No. 1 (Sept. 1941), 14.
B10 "Ecce Homo." Contemporary Verse, 1, No. 1 (Sept. 1941), 5-6.
B11 "Blackout." Contemporary Verse, 1, No. 2 (Dec. 1941), 16.
B12 "Desiring Only...." Preview, April 1942, p. [4].
B13 "Festival without Prayers." The Canadian Forum, April 1942, p. 5.
B14 "No Flowers." Preview, April 1942, pp. [2-3]. CA.
B15 "Remember the Wood." Canadian Poetry Magazine, 6, No. 2 (April 1942), 16-17.
B16 "Bed-Sitting Room." Preview, May 1942, p. [3]. Rpt. (revised) in The Canadian Forum, Sept. 1942, p. 177.
B17 "The Mole." Poetry [Chicago], 60 (July 1942), 197. TT.
See B349.
B18 "Some There Are Fearless." Preview, July 1942, p. [5]. Rpt. in Poetry [Chicago], 62 (July 1943), 207. CA (revised); P.K.P.
B19 "The Stenographers." Preview, July 1942, pp. [5-6]. Rpt. (revised) in The Canadian Forum, Sept. 1942, p. 177. Rpt. in Voices, No. 113 (Spring 1943), pp. 34-35. Rpt. (revised) in Poetry Canada Review, 3, No. 3 (Spring 1982), 9. TT (revised); CA (revised); P.K.P.
See B364.
B20 "Landscape of Love." First Statement, 1, No. 1 ([Aug. 1942]), 8. TT (revised--"Personal Landscape"); CA; P.K.P.
B21 "Poem: [She was dime-dead, a silver thing...]." First Statement, 1, No. 1 ([Aug. 1942]), 7.
B22 "This Is Another Spring." First Statement, 1, No. 2 ([Aug. 1942]), 4.
B23 "Dolls' House--New Model." First Statement, 1, No. 5 ([Oct. 1942]), 2.
B24 "Generation." Preview, Oct. 1942, pp. 5-6. Rpt. (revised) in Poetry [Chicago], 62 (July 1943), 205-07. TT (revised); CA (revised); P.K.P.
B25 "Prediction without Crystal." First Statement, 1, No. 6 ([Oct. 1942]), 6-7. P.K.P.
B26 "Bank Strike." Preview, Nov. 1942, p. 8. Rpt. ("Bank Strike--1942--Quebec") in Poetry [Chicago], 62 (July 1943), 204-05. P.K.P (revised--"Bank Strike: Quebec--1942").
See B338 ("Bank Strike").
B27 "The Sleeper." First Statement, 1, No. 7 ([Nov. 1942]), 6.
B28 "The Traveller." Contemporary Verse, No. 6 (Dec. 1942), pp. 7-9. CA (revised--"Cullen"); P.K.P.
B29 "Typists." Preview, Feb. 1943, pp. [2-3]. P.K.P (revised).
B30 "Isolationist." Canadian Poetry Magazine, 6, No. 4 (March 1943), 17. Rpt. (revised) in Voices, No. 113 (Spring 1943), p. 35. TT (revised); P.K.P.
B31 "Journey." Preview, No. 13 (May 1943), pp. 5-6. Signed: P. K. P.
B32 "Waking." Preview, No. 13 (May 1943), p. 5. TT (revised); CA; P.K.P (revised).
Signed: P. K. P.
B33 "The Chief Mourner." Preview, No. 14 (July 1943), p. 6.
B34 "Failure at Tea." Poetry [Chicago], 62 (July 1943), 203-04. TT (revised); P.K.P.
B35 "Panorama." Preview, No. 14 (July 1943), pp. 5-6.
B36 "The Clock of Your Pulse." Canadian Poetry Magazine, 7, No. 1 (Aug. 1943), 12-13.
B37 "Divers." Preview, No. 15 (Aug. 1943), p. 3. Rpt. in Tomorrow, 4, No. 8 (April 1945), 62. TT (revised).
B38 "Shipbuilding Office." Preview, No. 15 (Aug. 1943), p. 4. P.K.P.
B39 "The Inarticulate." The Canadian Forum, Sept. 1943, p. 139. P.K.P.
B40 "Noon Hour." The Canadian Forum, Sept. 1943, p. 139.
B41 "Fall Thoughts." The Canadian Forum, Oct. 1943, p. 155.
B42 "Love Poem: [For we can live now, love . . .]." Preview, No. 16 (Oct. 1943), p. 8. TT (revised); CA (revised--"As Ten as Twenty"); P.K.P.
B43 "Offices." Preview, No. 16 (Oct. 1943), p. 8. P.K.P (revised).
B44 "Summer Resort." Preview, No. 16 (Oct. 1943), p. 9. Rpt. (revised--"Vacationists") in Poetry [Chicago], 64 (Aug. 1944), 239-40. P.K.P (revised--"Summer Resort").
B45 "Opportunist." Preview, No. 17 (Dec. 1943), p. 6.
B46 "Photograph." Preview, No. 17 (Dec. 1943), p. 6. P.K.P (revised).
B47 "Foreigner." In Unit of Five. Ed. Ronald Hambleton. Toronto: Ryerson, 1944, p. 40. CA (revised).
B48 "The Sentimental Surgeon." In Unit of Five. Ed. Ronald Hambleton. Toronto: Ryerson, 1944, pp. 50-51. P.K.P.
B49 "Poem: [Let us by paradox...]." Preview, No. 18 (Feb. 1944), p. 5. TT (revised); CA (revised--"Poem in War Time"); P.K.P (revised).
See B344 ("Poem: [Let us by paradox...]").
B50 "The Bands and the Beautiful Children." Preview, No. 19 (March 1944), p. 8. TT (revised); CA (revised); P.K.P.
See B337.
B51 "Average." Contemporary Verse, No. 10 (April 1944), p. 12. TT (revised).
B52 "Schizophrenic." Contemporary Verse, No. 10 (April 1944), p. 11.
B53 "Landlady." The Canadian Forum, May 1944, p. 43. TT (revised); CA; P.K.P (revised--"The Landlady").
See B341.
B54 "The Dreamer." Poetry [Chicago], 64 (Aug. 1944), 242-43.
B55 "Element." Poetry [Chicago], 64 (Aug. 1944), 244-45. TT (revised); CA (revised); P.K.P.
B56 "Quarrel." Poetry [Chicago], 64 (Aug. 1944), 243-44.
B57 "The Sick." Poetry [Chicago], 64 (Aug. 1944), 240-42. TT (revised); P.K.P.
B58 "Children." Preview, No. 21 (Sept. 1944), p. 10. Rpt. (revised) in Poetry [Chicago], 66 (Aug. 1945), 237. CA (revised--"Little Girls"); P.K.P.
B59 "Draughtsman." The Canadian Forum, Dec. 1944, p. 204.
B60 "Journey Home." The Canadian Forum, Dec. 1944, p. 206. TT ("Magnetic North"); CA (revised--"Journey Home"); P.K.P.
B61 "Adolescence." Preview, No. 23 [Jan. 1945?], p. 4. TT (revised); CA (revised); P.K.P.
See B360.
B62 "Round Trip." Contemporary Verse, No. 13 (April 1945), pp. 3-7. TT (revised, expanded).
B63 "Spring." The Canadian Forum, July 1945, p. 94. TT (revised); CA (revised--"Now this Cold Man..."); P.K.P.
B64 "The Condemned." Poetry [Chicago], 66 (Aug. 1945), 235-36. TT ["The Condemned (For L. O.)"]; P.K.P.
See B340 ("The Condemned").
B65 "Contagion." Poetry [Chicago], 66 (Aug. 1945), 238. TT (revised); P.K.P (revised).
B66 "Love Poem: [Remembering you and reviewing...]." Poetry [Chicago], 66 (Aug. 1945), 240-41. CA (revised); P.K.P.
B67 "Stories of Snow." Poetry [Chicago], 66 (Aug. 1945), 238-40. TT (revised); CA (revised); P.K.P.
See B346.
B68 "Old Man." The Canadian Forum, Dec. 1945, p. 216.
B69 "If It Were You." Contemporary Verse, No. 16 (Jan. 1946), pp. 3-5. TT (revised); P.K.P (revised).
B70 "Outcasts." Contemporary Verse, No. 16 (Jan. 1946), pp. 6-7. P.K.P.
B71 "From Uncertain Ground." Reading, 1, No. 2 (April 1946), pp. 70-71.
B72 "Only Child." Reading, 1, No. 2 (April 1946), 16-17. TT (revised); CA (revised); P.K.P.
B73 "Unable to Hate or Love." Reading, 1, No. 2 (April 1946), 71-72. P.K.P (revised).
B74 "Morning, Noon and Night." Contemporary Verse, No. 19 (Oct. 1946), p. 3. MF (revised--"Morning, Noon And Night"); CA ("Morning, Noon and Night"); P.K.P.
B75 "Piece for a Formal Garden." Contemporary Verse, No. 19 (Oct. 1946), p. 5. MF.
B76 "Sailor." Contemporary Verse, No. 19 (Oct. 1946), p. 4. MF (revised).
B77 "Squatters, 1946." Contemporary Verse, No. 19 (Oct. 1946), p. 6.
B78 "Virgin." Contemporary Verse, No. 19 (Oct. 1946), p. 5. Rpt. (revised) in Liberte, 2 (mars-avril 1960), 96. Rpt. trans. Georges Chartier in Liberte, 2 (mars-avril 1960), p. 97. MF (English original); CA.
B79 "Subjective Eye." Northern Review, 1, No. 3 (Oct.-Nov. 1946), 14. MF (revised).
B80 "Blowing Boy." Poetry [Chicago], 69 (Dec. 1946), 149-50. P.K.P (revised).
B81 "Election Day." Poetry [Chicago], 69 (Dec. 1946), 146-48. TT (revised); CA (revised); P.K.P.
See B363.
B82 "Freak." Poetry [Chicago], 69 (Dec. 1946), 148-49. MF (revised); P.K.P.
B83 "Sisters." Poetry [Chicago], 69 (Dec. 1946), 151. MF (revised); P.K.P.
B84 "Young Girls." Poetry [Chicago], 69 (Dec. 1946), 145-46. MF (revised); CA (revised); P.K.P.
B85 "Man with One Small Hand." The Canadian Forum, June 1947, p. 65. MF (revised--"Man With One Small Hand"); CA (revised--"Man with One Small Hand"); P.K.P.
B86 "Mineral." The Canadian Forum, June 1947, p. 65. MF (revised); CA (revised); P.K.P.
B87 "Poem: [Forgive us, who have not . . .]." The Canadian Forum, June 1947, p. 65.
B88 "Presentation." The Canadian Forum, June 1947, p. 65. P.K.P (revised).
B89 "Puppets." Contemporary Verse, No. 21 (Summer 1947), pp. 8-9. MF (revised); CA (revised); P.K.P.
B90 "Alice." Canadian Poetry Magazine, 11, No. 2 (Dec. 1947), 27-28.
B91 "Christmas Eve--Market Square." Canadian Poetry Magazine, 11, No. 2 (Dec. 1947), 26-27. MF (revised); CA (revised); P.K.P.
See B339.
B92 "Painter." Canadian Poetry Magazine, 11, No. 2 (Dec. 1947), 27.
B93 "Sleepers." here and now, 1, No. 1 (Dec. 1947), 57. MF (revised--"Sleeper"); P.K.P.
B94 "Portrait." here and now, 1, No. 2 (May 1948), 60. MF (revised--"Paranoid"); P.K.P.
See B342 ("Paranoid").
B95 "Parachutist." Canadian Poetry Magazine, 11, No. 4 (June 1948), 24.
B96 "Romantic." Canadian Poetry Magazine, 11, No. 4 (June 1948), 24-25.
B97 "Meeting." Contemporary Verse, No. 25 (Summer 1948), p. 12.
B98 "Mystics." Contemporary Verse, No. 25 (Summer 1948), pp. 11-12. MF ("Mystics Like Miners").
B99 "The Permanent Tourists." Contemporary Verse, No. 25 (Summer 1948), pp. 10-11. MF (revised); CA (revised); P.K.P.
See B343.
B100 "Vegetable Island." Outposts, No. 10 (Summer 1948), pp. 8-9. P.K.P.
B101 "The Age of Ice." here and now, 2, No. 4 (June 1949), 66-67.
B102 "His Dream." Contemporary Verse, No. 31 (Spring 1950), p. 5.
B103 "The Map." Contemporary Verse, No. 31 (Spring 1950), pp. 7-8. MF.
B104 "Probationer." Contemporary Verse, No. 31 (Spring 1950), pp. 6-7. MF (revised); CA (revised); P.K.P.
B105 "Summer." Contemporary Verse, No. 31 (Summer 1950), p. 3. MF (revised).
B106 "The Verandah." Contemporary Verse, No. 31 (Summer 1950), pp. 4-5.
B107 "Migration." Contemporary Verse, No. 35 (Summer 1951), p. 9.
B108 "The Photograph." Contemporary Verse, No. 35 (Summer 1951), pp. 13-14. CA (revised--"To a Portrait in a Gallery").
B109 "Photographs of a Salt Mine." Contemporary Verse, No. 35 (Summer 1951), pp. 9-11. MF (revised--"Photos of a Salt Mine"); CA (revised); P.K.P.
B110 "Portrait of Marina." Contemporary Verse, No. 35 (Summer 1951), pp. 11-13. MF (revised); CA (revised); P.K.P.
See B345.
B111 "Poem: [Look, look, he took me straight . . .]. Contemporary Verse, [Anniversary Number 1941-1951], No. 36 (Fall 1951), p. 7. MF.
B112 "Elegy." Contemporary Verse, No. 39 (Fall-Winter 1952), p. 12. MF (revised).
B113 "The Event." Contemporary Verse, No. 39 (Fall-Winter 1952), pp. 14-15. MF (revised); CA.
B114 "Incubus." Contemporary Verse, No. 39 (FallWinter 1952), pp. 13-14. MF (revised -- "Nightmare"); CA.
B115 "After Rain." Poetry [Chicago], 89 (Nov. 1956), 100-01. Rpt. (revised) in Poetry Canada Review, 3, No. 3 (Spring 1982), 9. CA; P.K.P.
See B361.
B116 "Giovanni and the Indians." Poetry [Chicago], 89 (Nov. 1956), 10l-02. CA (revised).
B117 "The Glass Air." Poetry Australia, No. 16 (June 1967), p. 25. CA; P.K.P.
B118 "Bark Drawing." The Tamarack Review, No. 44 (Summer 1967), pp. 7-8. CA (revised).
B119 "Brazilian Fazenda." The Tamarack Review, No. 44 (Summer 1967), p. 9. CA; P.K.P.
See B348.
B120 "The Knitters." The Tamarack Review, No. 44 (Summer 1967), pp. 10-11. CA; P.K.P.
B121 "The Snowman." The Tamarack Review, No. 44 (Summer 1967), pp. 11-12. CA; P.K.P.
See B359.
B122 "Another Space." Poetry [Chicago], 114 (Aug. 1969), 299-300. Rpt. (revised) in The Canadian Forum, Sept. 1975, p. 35. P.K.P (revised).
See B356.
B123 "A Backwards Journey." Poetry [Chicago], 114 (Aug. 1969), 302. P.K.P (revised).
See B351.
B124 "Fly: On Webs." Poetry [Chicago], 114 (Aug. 1969), 301. EDGF (revised).
B125 "Knitter's Prayer." Poetry [Chicago], 114 (Aug. 1969), 301.
B126 "Corrective Lenses." Tuatara [Victoria], No. 1 (Fall 1969), p. 25.
B127 "a motor trip 1968." Canadian Literature, No. 42 (Autumn 1969), inside back cover.
A poem-drawing.
B128 "Travellers' Palm." Tuatara [Victoria], No. 1 (Fall 1969), p. 24. EDGF (revised--"Traveller's Palm").
See B355.
B129 "Procession." In Contemporary Poetry of British Columbia. Ed. and introd. J. Michael Yates. Vancouver: Sono Nis, 1970, p. 222. EDGF (revised--"Ecology").
B130 "Small World." In Contemporary Poetry of British Columbia. Ed. and introd. J. Michael Yates. Vancouver: Sono Nis, 1970, p. 220.
B131 "Three Gold Fish." In Contemporary Poetry of British Columbia. Ed. and introd. J. Michael Yates. Vancouver: Sono Nis, 1970, p. 219. EDGF (revised).
B132 "The Wind." In Contemporary Poetry of British Columbia. Ed. and introd. J. Michael Yates. Vancouver: Sono Nis, 1970, p. 221.
B133 "Leather Jacket." The Canadian Forum, April-May 1970, p. 73. P.K.P (revised).
See B357.
B134 "Waiting to Be Dreamed." The Canadian Forum, April-May 1970, p. 72.
B135 "The Dome of Heaven." Canadian Literature, No. 46 (Autumn 1970), p. 42.
Accompanied by an untitled drawing which may illustrate the poem (see B330).
B136 "Dream." Canadian Literature, No. 46 (Autumn 1970), p. 37.
A poem-drawing; signed: P. K. Irwin. [Pen-and-ink reproduction.]
B137 "Snowshoes." In 40 Women Poets of Canada. Ed. Dorothy Livesay and Seymour Mayne. Montreal: Ingluvin, 1971, pp. 113-14. EDGF (revised).
B138 "Prairie Poems: Airport Arrival." White Pelican, 1, No. 2 (Spring 1971), 39.
B139 "Prairie Poems: Morning." White Pelican, 1, No. 2 (Spring 1971), 39.
B140 "Prairie Poems: Skyline." White Pelican, 1, No. 2 (Spring 1971), 39.
B141 "Yellow." Alphabet, Nos. 18-19 ([June] 1971), p. 10.
A [pen-and-ink] poem-drawing; signed: P. K. Irwin.
B142 "Cullen Revisited." Canadian Literature, No. 50 (Autumn 1971), pp. 33-34. EDGF (revised).
B143 "Leviathan in a Pool." Canadian Literature, No. 50 (Autumn 1971), pp. 28-32. P.K.P (revised).
Accompanied by an untitled drawing [The Third Ear] (see B331).
B144 "Preparation." Canadian Literature, No. 50 (Autumn 1971), pp. 32-33. P.K.P (revised).
B145 "Self-Portrait." White Pelican, 2, No. 2 (Spring 1972), 36.
B146 "The Yellow People in Metamorphosis." Blackfish, No. 3 (Summer 1972), n. pag. EDGF (revised).
B147 "Arrangement." Tuatara [Victoria], [All-Canadian Issue], Nos. 8-9 (Fall 1972), p. 51.
B148 "On Educating the Natives." Chatelaine, Oct. 1972, p. 105. CA.
B149 "Storm in Mexico." Blackfish, Nos. 4-5 (Winter-Spring 1971-73), n. pag. P.K.P.
B150 "All These Men...." In Vancouver Island Poems: "Anthology of Contemporary Poetry". Ed. Robert Sward, Jim Groves, and Mario M. Martinelli. Preface Robert Sward. Victoria: Soft, 1973, p. 66.
Unsigned.
B151 "Stefan." In Vancouver Island Poems: "Anthology of Contemporary Poetry". Ed. Robert Sward, Tim Groves, and Mario M. Martinelli. Preface Robert Sward. Victoria: Soft, 1973, p. 66. EDGF.
See B354.
B152 "Two Poems: 1. Advent (for Penny)." IS., No. 14 (Summer 1973), n. pag.
B153 "Two Poems: 2. And After." IS., No. 14 (Summer 1973), n. pag.
B154 "Masqueraders." Ariel [Calgary], 4, No. 3 (July 1973), 54. P.K.P.
B155 "Your Hand Once." Ariel [Calgary], 4, No. 3 (July 1973), 53. P.K.P (revised--"Your Hand Once . . .").
B156 "Enemy." Canadian Literature, No. 64 (Spring 1975), p. 23.
B157 "For Mstislav Rostropovich with Love." CV/II, 1, No. 2 (Fall 1975), 10. EDGF (revised).
B158 "The Maze." CV/II, 1, No. 2 (Fall 1975), 10. EDGF (revised).
B159 "The Dead Child." Canadian Literature, No. 63 (Winter 1975), p. 72. EDGF revised--"The Child").
B160 "Finches Feeding." Canadian Literature, No. 63 (Winter 1975), p. 34. EDGF (revised).
B161 "Poem: [Prince, to whom three ladders lead,...]." Canadian Literature, No. 63 (Winter 1975), p. 39.
B162 "Allen Dreaming Recurrently of Antarctica." The Tamarack Review, No. 69 (Summer 1976), p. 44.
B163 "Macumba: Brazil." The Tamarack Review, No. 69 (Summer 1976), pp. 48-49.
B164 "Phone Call from Mexico." The Tamarack Review, No. 69 (Summer 1976), pp. 46-48. Rpt. (revised) in Poetry Canada Review, 3, No. 3 (Spring 1982), 9. EDGF (revised); FP.
See B358.
B165 "Seraphim." The Tamarack Review, No. 69 (Summer 1976), p. 45.
B166 "Poems from Melanie's Nite Book: Ancestors." The Canadian Forum, Aug. 1976, p. 30. EDGF (revised--"Ancestors").
B167 "Poems from Melanie's Nite Book: Brother." The Canadian Forum, Aug. 1976, p. 30.
B168 "Poems from Melanie's Nite Book: Father." The Canadian Forum, Aug. 1976, p. 30.
B169 "Poems from Melanie's Nite Book: Message. [Not enough food . . .]." The Canadian Forum, Aug. 1976, p. 31.
B170 "Poems from Melanie's Nite Book: Mother." The Canadian Forum, Aug. 1976, p. 29.
B171 "Poems from Melanie's Nite Book: Sister." The Canadian Forum, Aug. 1976, p. 29.
B172 "Poems from Melanie's Nite Book: The Trail of Bread." The Canadian Forum, Aug. 1976, p. 31. EDGF (revised--"The Trail of Bread").
B173 "Poems from Melanie's Nite Book: Who." The Canadian Forum, Aug. 1976, p. 31.
B174 "Dwelling Place." West Coast Review [Simon Fraser Univ.], 11, No. 2 (Oct. 1976), 23. Rpt. (revised) in Poetry Canada Review, 3, No. 3 (Spring 1982), 9. EDGF.
B175 "Snowfall." West Coast Review [Simon Fraser Univ.], 11, No. 2 (Oct. 1976), 23.
B176 "The Flower Bed." Queen's Quarterly, 83 (Winter 1976), 577. EDGF (revised).
B177 "A Grave Illness." Queen's University, 83 (Winter 1976), 575. EDGF (revised); FP.
B178 "The Selves." Queen's Quarterly, 83 (Winter 1976), 576. EDGF (revised).
B179 "Voyager." Queen's Quarterly, 83 (Winter 1976), 574. EDGF (revised).
B180 "At Sea." Queen's Quarterly, 84 (Winter 1977), 567. EDGF (revised).
B181 "Difficult." Queen's Quarterly, 84 (Winter 1977), 566. EDGF (revised).
B182 "Poem: [You, my Lord, were dressed in astonishing disguises: . . .]." Queen's Quarterly, 84 (Winter 1977), 565. EDGF (revised--"The Disguises").
B183 "Poem for a Summer Afternoon." Queen's Quarterly, 84 (Winter 1977), 564. EDGF (revised--"Domestic Poem for a Summer Afternoon").
B184 "About Death." The Malahat Review, No. 45 (Jan. 1978), p. 197. EDGF (revised).
B185 "Evening Dance of the Grey Flies." The Malahat Review, No. 45 (Jan. 1978), p. 196. Rpt. (revised) in Poetry Canada Review, 3, No. 3 (Spring 1982), 9. EDGF; FP ("Evening Dance of the Grey Flies: For Chris").
B186 "Message: [This message trims the world . . .]." The Malahat Review, No. 45 (Jan. 1978), p. 199.
B187 "On Brushing My Hair in the Static-Filled Air." The Malahat Review, No. 45 (Jan. 1978), p. 199.
B188 "Sestina for Pat Lane after Reading Albino Pheasants." The Malahat Review, No. 45 (Jan. 1978), p. 200. EDGF (revised--"After Reading Albino Pheasants").
B189 "Song . . . Much of It Borrowed." The Malahat Review, No. 45 (Jan. 1978), p. 198. EDGF.
B190 "Motel Pool." The Ontario Review, No. 8 (Spring-Summer 1978), p. 79. EDGF (revised).
B191 "Short Spring Poem for the Short-Sighted." The Ontario Review, No. 8 (Spring-Summer 1978), p. 80. EDGF (revised).
B192 "Miniatures." Canadian Literature, No. 79 (Winter 1978), p. 31.
B193 "Prisoners." Canadian Literature, No. 79 (Winter 1978), p. 4.
B194 "Conversations with My Aunt." West Coast Review [Simon Fraser Univ.], 13, No. 3 (Feb. 1979), 6.
B195 "On an Exhibition of Polish Tapestries." West Coast Review [Simon Fraser Univ.], l3, No. 3 (Feb. 1979), 7.
B196 "Voice." West Coast Review [Simon Fraser Univ.], 13, No. 3 (Feb. 1979), 7.
B197 "Work in Progress." West Coast Review [Simon Fraser Univ.], 13, No. 3 (Feb. 1979), 5-6. EDGF (revised--"The First Part").
B198 "Geometry." West Coast Review [Simon Fraser Univ.], 14, No. 2 (June 1979), 5.
B199 "On Changing Gold to Lead." West Coast Review [Simon Fraser Univ.], 14, No. 2 (June 1979), 5.
B200 "Conchita Knows Who Who Is." West Coast Review [Simon Fraser Univ.], 14, No. 2 (Oct. 1979), 6. EDGF (revised).
B201 "Full Moon." West Coast Review [Simon Fraser Univ.], 14, No. 2 (Oct. 1979), 5. Rpt. in TimesColonist [Victoria], 27 Nov. 1981, p. 27. Rpt. in Western's Caucus on Women's Issues Newsletter [Univ. of Western Ontario], Fall 1983, n. pag. EDGF.
B202 "After Donne." Queen's Quarterly, 87 (Spring 1980), 44. EDGF (revised); FP.
B203 "Entreaty." Queen's Quarterly, 87 (Spring 1980), 45.
B204 "Out Here: Flowering." Queen's Quarterly, 87 (Spring 1980), 45. EDGF (revised).
B205 "The Typesetter Star-Gazes." Queen's Quarterly, 87 (Spring 1980), 44. Rpt. ("Star-Gazer") in Poetry Canada Review, 3, No. 3 (Spring 1982), 9. EDGF (revised--"Star-gazer"); FP "The Typesetter Star-gazes").
See B366.
B206 "The Filled Pen." Canadian Literature, No. 87 (Winter 1980), pp. 79-80. Rpt. in Western's Caucus on Women's Issues Newsletter [Univ. of Western Ontario], Fall 1983, n. pag. EDGF (revised).
B207 "The Tethers." Canadian Literature, No. 87 (Winter 1980), p. 80. EDGF (revised).
B208 "T-Bar." Times-Colonist [Victoria], 24 Nov. 1981, p. 27. Rpt. in Poetry Canada Review, 3, No. 3 (Spring 1982), 9. MF; CA (revised); P.K.P.
B209 "Conjuror." Scrivener [McGill Univ.], 3, No. 1 (Spring 1982), 8.
B210 "In the Waiting Room." Scrivener [McGill Univ.], 3, No. 1 (Spring 1982), p. 8.
B211 "Concentration." The Malahat Review, No. 67 (Feb. 1984), p. 7.
B212 "Crow's Nest." The Malahat Review, No. 67 (Feb. 1984), pp. 11-12.
B213 "Deaf-Mute in a Pear Tree." The Malahat Review, No. 67 (Feb. 1984), pp. 6-7.
B214 "Deep Sleep." The Malahat Review, No. 67 (Feb. 1984), p. 9.
B215 "Invisible Presences Fill the Air." The Malahat Review, No. 67 (Feb. 1984), p. 5.
B216 "Remembering George Johnston Reading." The Malahat Review, No. 67 (Feb. 1984), p. 13.
B217 "To a Dead Friend." The Malahat Review, No. 67 (Feb. 1984), p. 8.
B218 "Visitants." The Malahat Review, No. 67 (Feb. 1984), p. 10.
B219 "What's in a Name?". The Malahat Review, No. 67 (Feb. 1984), [inside back cover].
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
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Record: 374- Title:
- Part 1 Works By P.K. Page; Contributions to periodicals and books; Reprinted anthology contributions: A selection (poetry)
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- Part 1 Works By P.K. Page; Contributions to periodicals and books
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- Annotated bibliography of Canada's major authors, no. 6
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- Orange, John (compiler)
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- Bibliography
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- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP1
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Source: Part 1: Works By P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 208-236
Part 1 Works By P.K. Page; Contributions to periodicals and books; Reprinted anthology contributions: A selection (poetry)
Orange, John (compiler)
B236 "The Moth." In Dreams and Daydreams. Ed. C. Richards. London: James Nisbet, 1935, p. 21.
B237 "For G. E. R." In An Anthology of Canadian Poetry (English). Ed. and preface Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1942, p. 113.
B238 "Isolationist," "Landscape of Love," "The Mole," and "The Stenographers." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and introd. A. J. M. Smith. Toronto: Univ. of Toronto Press, 1943, pp. 418-20.
B239 "Journey." In A Little Anthology of Canadian Poets. Ed. Ralph Gustafson. Norfolk, Conn.: New Directions, 1943, p. 21.
B240 "Bank Strike: Quebec -- 1942," "Bed-Sitting Room," "Cullen," "The Inarticulate," "No Flowers," "Opportunist," "Photograph," "Snapshot," "Some There Are Fearless," and "Summer Resort." In Unit of Five. Ed. and foreword Ronald Hambleton. Toronto: Ryerson, 1944, pp. 39-40, 41-49, 51-52.
"Snapshot" was originally entitled "Poem [She was dime-dead, a silver thing...]." See B21.
B241 "Bank Strike: Quebec--1942," "The Condemned," "Cullen," "Isolationist," "Schizophrenic," "Spring," "The Stenographers," and "Summer Resort." In Other Canadians: An Anthology of the New Poetry in Canada 1940-1946. Ed. and introd. John Sutherland. Montreal: First Statement, 1947, pp. 62-71.
B242 "Adolescence," "The Bands and the Beautiful Children," "Landlady," and "The Permanent Tourists." In Canadian Poems 1850-1952. Ed. and introd. Louis Dudek and Irving Layton. 2nd ed. Toronto: Contact, 1952, pp. 107-10.
B243 "Adolescence," "Average," "Christmas Eve: Market Square," "Landlady," and "The Stenographers." In Twentieth Century Canadian Poetry: An Anthology. Ed. and introd. Earle Birney. Toronto: Ryerson, 1953, pp. 27, 50, 68-69, 74-75, 77-78.
B244 "Adolescence," "Cullen," "Landlady," "The Stenographers," and "Summer Resort." In Canadian Poetry in English. Ed. Bliss Carman, Lorne Pierce, and V. B. Rhodenizer. Introd. V. B. Rhodenizer. Foreword Lorne Pierce. Toronto: Ryerson, 1954, pp. 421-27.
B245 "Election Day" and "Landlady." In The Blasted Pine: An Anthology of Satire, Invective, and Disrespectful Verse, Chiefly by Canadian Writers. Ed. and introd. F. R. Scott and A. J. M. Smith. Toronto: Macmillan, 1957, pp. 29-30, 62-63.
B246 "The Bands and the Beautiful Children," "Element," "The Stenographers," and "Summer." In The Penguin Book of Canadian Verse. Ed. and introd. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1958, pp. 201-04.
B247 "The Bands and the Beautiful Children" and "Landlady." In British Columbia: A Centennial Anthology. Ed. and foreword Reginald E. Watters. Toronto: McClelland and Stewart, 1958, pp. 402, 502.
B248 "Adolescence," "Arras," "Man with One Small Hand," "The Stenographers," "Stories of Snow," and "T-Bar." In The Oxford Book of Canadian Verse: In English and French. Ed. and introd. A. J. M. Smith. Toronto: Oxford Univ. Press, 1960, pp. 346-53.
B249 "Adolescence." In Love Where the Nights Are Long: An Anthology of Canadian Love Poems. Ed. and introd. Irving Layton. Toronto: McClelland and Stewart, 1962, p. 74.
B250 "Landlady." In A Book of Canadian Poems: An Anthology for Secondary Schools. Ed. Carlyle King. Toronto: McClelland and Stewart, 1963, pp. 103-04.
B251 "Adolescence," "Arras," "The Bands and the Beautiful Children," "Intractable Between Them Grows...," "Photos of a Salt Mine," "Portrait of Marina," "Probationer," "Sisters," "The Stenographers," "Stories of Snow," "T-Bar," and "Young Girls." In Poetry of Mid-Century 1940-1960. Ed. and introd. Milton Wilson. New Canadian Library Original, No. O4. Toronto: McClelland and Stewart, 1964, pp. 168-82.
B252 "The Bands and the Beautiful Children" and "The Permanent Tourists." In Poetry of Our Time: An Introduction to Twentieth Century Poetry Including Modern Canadian Poetry. Ed. Louis Dudek. Toronto: Macmillan, 1965, pp. 222-24.
B253 "Sisters." In New Horizons: An Anthology of Short Poems for Senior Students. Rev. ed. Ed. Bert Case Diltz and Ronald Joseph McMaster. Introd. Bert Case Diltz. Preface Bert Case Diltz and Ronald Joseph McMaster. Toronto: McClelland and Stewart, 1965, p. 85.
B254 "Adolescence," "The Condemned (For L. O.)," "Foreigner," "Intractable Between Them Grows...," "Isolationist," "Landlady," "Love Poems [For we can live now, love...]," "Man with One Small Hand," "The Mole," "Paranoid," "The Permanent Tourists," "Portrait of Marina," "Reflection in a Train Window," "Sisters," "The Stenographers," and "Summer Resort." In Canadian Anthology. Ed. and preface Carl F. Klinck and Reginald E. Watters. Rev. ed. Toronto: Gage, 1966, pp. 418-27.
B255 "Arras," "Element," "Images of Angels," "Man with One Small Hand," and "Puppets." In Modern Canadian Verse: In English and French. Ed. and preface A. J. M. Smith. Toronto: Oxford Univ. Press, 1967, pp. 197-204.
B256 "Photos of a Salt Mine." In A Century of Canadian Literature/Un Siecle de Litterature Canadienne. Ed. H. Gordon Green and Guy Sylvestre. Foreword and introd. H. Gordon Green. Preface Guy Sylvestre. Toronto: Ryerson, 1967, pp. 501-02.
B257 "Stories of Snow." In To Everything There Is a Season. Ed. Milton Wilson. Foreword Roloff Beny. Prefaces Milton Wilson and Pierre Dupuy. Toronto: Longmans, 1967, p. 311.
B258 "The Crow." In The Wind Has Wings: Poems from Canada. Ed. Mary Alice Downie and Barbara Robertson. Toronto: Oxford Univ. Press, 1968, p. 90.
B259 "Adolescence" and "The Stenographers." In Tribal Drums: A Collection of Contemporary Song Lyrics and Poetry. Ed. A. O. Hughes. Toronto: McGraw-Hill, 1970, pp. 26, 97.
B260 "Another Space," "A Backwards Journey," "Fly: on Webs," and "Knitter's Prayer." In Made In Canada: New Poems of the Seventies. Ed. and introd. Douglas Lochhead and Raymond Souster. Ottawa: Oberon, 1970, pp. 160-63.
B261 "Arras." In How Do I Love Thee: Sixty Poets of Canada (and Quebec) Select and Introduce Their Favourite Poems from Their Own Work. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1970, pp. 26-27.
B262 "The Permanent Tourists" and "The Stenographers." In A Little Treasury of Modern Poetry. Ed. and introd. Oscar Williams. 3rd ed. New York: Scribner, 1970, pp. 782-84.
B263 "Adolescence" and "Man with One Small Hand." In I Am a Sensation. Ed. Gerry Goldberg and George Wright. Toronto: McClelland and Stewart, 1971, pp. 119, 126.
B264 "The Dome of Heaven," "Leather Jacket," and "Traveller's Palm." In 40 Women Poets of Canada. Ed. Dorothy Livesay and Seymour Mayne. Montreal: Ingluvin, 1971, pp. 115-17.
B265 "Stories of Snow." In The Broken Ark: A Book of Beasts. Ed. Michael Ondaatje. Ottawa: Oberon, 1971, n. pag.
B266 And You, What Do You Seek? (drawing) and "Young Girls." In Voice and Vision. Ed. and introd. Jack Hodgins and William H. New. Toronto: McClelland and Stewart, 1972, pp. 25, 31.
B267 "Bed-Sitting Room" and "Draughtsman." In Forum: Canadian Life and Letters 1920-70. Selections from The Canadian Forum. Ed. and preface J. L. Granatstein and Peter Stevens. Toronto: Univ. of Toronto Press, 1972, pp. 208-09, 229.
B268 "Only Child," "The Stenographers," and "T-Bar." In Oxford Anthology of Canadian Literature. Ed. and preface Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 388-91.
B269 "Preparation." In Vancouver Island Poems: "Anthology of Contemporary Poetry". Ed. Robert Sward, Tim Groves, and Mario M. Martinelli. Preface Robert Sward. Victoria: Soft, 1973, p. 65.
B270 "Adolescence," "The Condemned (For L. O.)," "Foreigner," "Isolationist," "Landlady," "The Permanent Tourists," "Portrait of Marina," "Reflections in a Train Window," "Sisters," "The Stenographers," and "Summer Resort." In Canadian Anthology. Ed. and preface Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 432-39.
B271 "Another Space," "The Bands and the Beautiful Children," "Landlady," "Leviathan in a Pool," "The Mole," "The Stenographers," "Stories of Snow," and "Young Girls." In Selections from Major Canadian Writers. Ed. and introd. Desmond Pacey. Toronto: McGraw-Hill Ryerson, 1974, pp. 96-106.
B272 "Adolescence," "Foreigner," and "Masqueraders." In Mirrors: Recent Canadian Verse. Ed. and introd. Jon Pearce. Toronto: Gage, 1975, pp. 5-6, 65-66, 163-64.
B273 "Landlady." In Isolation in Canadian Literature. Gen. ed. and introd. David Arnason. Themes in Canadian Literature. Toronto: Macmillan, 1975, p. 89.
B274 "Little Girls," "Truce," and "Young Girls." In The Role of Women in Canadian Literature. Ed. and introd. Elizabeth McCullough. Themes in Canadian Literature. Toronto: Macmillan, 1975, pp. 82-83, 90.
B275 "Shaman," "Stories of Snow," and "Vegetable Island." In Skookum Wawa: Writings of the Canadian Northwest. Ed. and preface Gary Geddes. Toronto: Oxford Univ. Press, 1975, pp. 114-15, 176-77, 248-49.
B276 "The Stenographers." In The Urban Experience. Ed. and introd. John Stevens. Themes in Canadian Literature. Toronto: Macmillan, 1975, pp. 21-22.
B277 "Adolesence" and "Blowing Boy." In Signatures: Poems of Canada. Ed. Jim Head, Don Laing, and Glenn Miller. Don Mills, Ont.: Nelson, 1976. Vol. III, 9, 19.
B278 "A Backwards Journey" and "Freak." In Signatures: Poems of Canada. Ed. Jim Head, Don Laing, and Glenn Miller. Don Mills, Ont.: Nelson, 1976. Vol. 1, 15, 52-53.
B279 "The Stenographers." In Women in Canadian Literature. Ed. and introd. M. G. Hesse. Ottawa: Borealis, 1976, p. 237.
B280 "Element," "The Knitters," "The Landlady," "Little Girls," "Man with One Small Hand," "Mineral," "The Murder," "The Permanent Tourists," "Photos of a Salt Mine," "Presentation," and "They Might Have Been Zebras." In Canadian Poetry: The Modern Era. Ed. and preface John Newlove. Toronto: McClelland and Stewart, 1977, pp. 188-99.
B281 "Leviathan in a Pool." In Whale Sound: An Anthology of Poems about Whales and Dolphins. Ed. and foreword Greg Gatenby. Vancouver: Douglas, 1977, pp. 77-79.
B282 "Only Thought." In End of the World Speshul Anthology. Ed. bill bissett. Vancouver: BlewOintment, 1977, p. 119.
B283 "Shipbuilding Office," "The Stenographers," "Stephan," and "Traveller, Conjuror, Journeyman" (essay). In Western Windows: A Comparative Anthology of Poetry in British Columbia. Ed. Patricia M. Ellis. Introd. Lionel Kearns. Vancouver: CommCept, 1977, pp. 32, 35-36, 71, 239-42.
B284 "After Rain," "Arras," "Brazilian Fazenda," "Cook's Mountains," "Cry Ararat!", "A Grave Illness," "The Landlady," "The Permanent Tourists," "Photos of a Salt Mine," "Sestina for Pat Lane after Reading 'Albino Pheasants,'" "The Stenographers," and "Stories of Snow." In 15 Canadian Poets Plus 5. Ed. and preface Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1978, pp. 91-102.
B285 "All Those Men...." In Tributaries. An Anthology: Writer to Writer. Ed. and introd. Barry Dempster. Oakville/Ottawa: Mosaic/ Valley, 1978, p. 21.
B286 "Arras," "The Bands and the Beautiful Children," "Cook's Mountains," "The Metal and the Flower," "Now This Cold Man...," "Photos of a Salt Mine," "Portrait of Marina," "Stories of Snow," and "T-Bar." In Literature in Canada. Ed. and preface Douglas Daymond and Leslie Monkman. Toronto: Gage, 1978. Vol. II, 326-36.
B287 "Phone Call from Mexico." In The Poets of Canada. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1978, pp. 145-47.
Contains a biographical and bibliographical note.
B288 "Stories of Snow." In The Poetry Anthology 1912-1977: Sixty-Five Years of America's Most Distinguished Verse Magazine. Ed. Daryl Hine and Joseph Parisi. Introd. Daryl Hine. Boston: Houghton Mifflin, 1978, pp. 247-48.
B289 "Adolescence." In Childhood and Youth in Canadian Literature. Ed. M. G. Hesse. Themes in Canadian Literature. Toronto: Macmillan, 1979, p. 57.
B290 "On Brushing My Hair in the Static-Filled Air," "Stefan," and "Truce." In To Say the Least: Canadian Poets from A to Z. Ed. and introd. P. K. Page. Toronto: Porcepic, 1979, pp. 49, 84, 114.
B291 "Stefan" and "Truce." In The Maple Laugh Forever: An Anthology of Canadian Comic Poetry. Ed. and preface Douglas Barbour and Stephen Scobie. Edmonton: Hurtig, 1981, pp. 81, 93.
B292 "The Woman." In NOT TO BE TAKEN AT N I G H T: Thirteen Classic Canadian Tales of Mystery and the Supernatural. Ed. John Robert Colombo and Michael Richardson. Toronto: Lester and Orpen Dennys, 1981, pp. 103-07.
B293 "Your Hand Once...." In The Lines of the Poet: 13 Poems. Ed. and introd. D. G. Jones. Portraits Rosengarten. Toronto: Monk Bretton Books, 1981, n. pag.
B294 "Adolescence," "Another Space," "Cross," "The Stenographers," "Stories of Snow," and "T-Bar." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto/Downsview, Ont.: General/ECW, 1982. Vol. 1, 251-58.
B295 "After Rain," "Evening Dance of the Grey Flies: For Chris," "The Permanent Tourists," "Photos of a Salt Mine," "The Snowman," "Stories of Snow," and "T-Bar." In The New Oxford Book of Canadian Verse: In English. Ed. and introd. Margaret Atwood. Toronto: Oxford Univ. Press, 1982, pp. 179-88.
B296 "After Reading Albino Pheasants," "Another Space," "Arras," "Chinese Boxes," "Cry Ararat!", "For Mstislav Rostropovich with Love," "If It Were You," "Photos of a Salt Mine," "Portrait of Marina," "Preparation," "The Stenographers," and "Stories of Snow." In An Anthology of Canadian Literature in English. Ed. and introd. Russell Brown and Donna Bennett. Vol. II. Toronto: Oxford Univ. Press, 1983, pp. 6-21.
B297 "The Stenographers" and "Cook's Mountains." In A Twentieth Century Anthology. Ed. and preface W. E. Messinger and W. H. New. Scarborough, Ont.: Prentice-Hall, 1984, pp. 245-47.
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Source: Orange, John (compiler); . Part 1: Works By P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 208-236 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP1.
Item Number: ABCMA06PPP1000006004002003
Record: 375- Title:
- Part 1 Works By P.K. Page; Contributions to periodicals and books; Reprinted anthology contributions: A selection (short stories)
- Other Title:
- Part 1 Works By P.K. Page; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 1: Works By P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 208-236)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP1
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Part 1 Works By P.K. Page; Contributions to periodicals and books; Reprinted anthology contributions: A selection (short stories)
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B298 "The Green Bird." In Canadian Accent: A Collection of Stories and Poems by Contemporary Writers from Canada. Ed. and foreword Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1944, pp. 133-36.
B299 "The Resignation." In A Book of Canadian Stories. Ed. introd, and preface Desmond Pacey. Toronto: Ryerson, 1947, pp. 274-79.
B300 "The Green Bird." In Canadian Short Stories. Ed. and introd. Robert Weaver. Toronto: Oxford Univ. Press, 1960, pp. 313-19.
B301 "The Woman." In Canadian Anthology. Ed. and preface Carl F. Klinck and Reginald E. Watters. Rev. ed. Toronto: Gage, 1966, pp. 427-29.
B302 The Sun and the Moon [excerpts]. In Women in Canadian Literature. Ed. M. G. Hesse. Ottawa: Borealis, 1976, pp. 80-93.
B303 "Unless the Eye Catch Fire...." In Illusion Two: Fables, Fantasies and Metafictions. Ed. and preface Geoff Hancock. Toronto: Aya, 1983, pp. 123-44.
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B220 "The Neighbour." Preview, June 1942, pp. 1-2. SMOF.
B221 "The Lord's Plan." Preview, Aug. 1942, pp. 1, 3-4. SMOF.
B222 "The Green Bird." Preview, Sept. 1942, pp. 7-8. Rpt. in Stories from Canada: Erzahlengen aus Canada. Trans. Angela Uthe-Spencker. Ebenhausen bei Menchen. Langewiesche-Brandt, 1969, pp. 104, 106, 108, 110, 112, 114. Rpt. trans. Angela Uthe-Spencker ("Der grene Vogel") in Stories from Canada: Erzahlegen aus Kanada. Trans. Angela Uthe-Spencker. Ebenhausen bei Menchen: Langewiesche-Brandt, 1969, pp. 105, 107, 109, 111, 113, 115. SMOF ("The Green Bird").
B223 "Room and Board." First Statement, 1, No. 3 ([Sept. 1942]), 4-6.
B224 "Fear." First Statement, 1, No. 6 ([Oct. 1942]), 4-6.
B225 "The Resignation." Preview, Jan. 1943, pp. 3-6.
B226 "Leisure Class...." Preview, March 1943, pp. 6-7.
B227 "The Rat Hunt." Preview, No. l5 (Aug. 1943), pp. 1-3.
B228 "Under Cover of Night." Preview, No. 17 (Dec. 1943), pp. 5-6.
B229 "Miracles." Preview, No. 20 (May 1944), pp. 9-11. SMOF (revised).
Subtitled: "An extract from a story not yet finished in which an English-speaking husband and wife visit a French-Canadian village."
B230 "Them Ducks." Preview, No. 23 [Jan. 1945?], pp. 1-3.
B231 "George." Reading, 1, No. 1 (Feb. 1946), 5-20. SMOF.
B232 "Week-End--West Coast." Northern Review, 1, No. 2 (Feb.-March 1946), pp. 28-32.
B233 "The Woman." here and now, 1, No. 1 (Dec. 1947), pp. 36-38. SMOF.
B234 "Victoria." The Tamarack Review, No. 69 (Summer 1976), pp. 50-53.
B235 "Unless the Eye Catch Fire...." The Malahat Review, No. 50 (April 1979), pp. 65-86. EDGF.
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[underbar]
C1 Story, Norah. "Poetry in English." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, p. 651.
Ondaatje is listed as being one of a group of younger Canadian poets who were members of or influenced by the Vancouver TISH group.
C2 Dudek, Louis. "2. Poetry in English." Canadian Literature, No. 41 (Summer 1969), pp. 117, 119. Rpt. in The Sixties: Writers and Writing of the Decade. A Symposium to Celebrate the Tenth Anniversary of Canadian Literature. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, pp. 117, 119. Rpt. in Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, pp. 262, 264. Rpt. ("Poetry of the Sixties") in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, pp. 277, 279.
Ondaatje is cited among the "great boom of young poets" since 1964, as well as among "the new poets [who] are pretty much of a kind, and not exceptionally well-trained."
C3 Geddes, Gary, and Phyllis Bruce. "Michael Ondaatje." In 15 Canadian Poets. Ed. and preface Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1970, pp. 287-89. Rpt. in 15 Canadian Poets Plus 5. Ed. and preface Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1978, pp. 402-03.
Geddes and Bruce comment on Ondaatje's rejection of "undue emphasis on formal structure." Citing his "'distrust of all critics and nearly all dogmatic aesthetics and all rules and all clubs/cliques/schools of poetry,'" they emphasize his "'wish to come to each poem and let it breed in its own vacuum and have its own laws and order.'" Ondaatje "prefers the 'caught vision'" in which he "catches his subject when it is moving towards clarity, when it is neither completely vague and unrecognizable nor completely clear and obvious." The editors mention Ondaatje's love of such films as The Hustler, Sands of the Kalahari, Once Upon a Time in the West, and Point Blank.
C4 Gustafson, Ralph. "Ondaatje, (Philip) Michael." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. New York: St. Martin's, 1970, pp. 820-22. Rpt. in Contemporary Poets. Rev. ed. Ed. James Vinson. New York: St. Martin's, 1975, pp. 1145-46. Rpt. 3rd ed. Ed. James Vinson. London: Macmillan, 1980, pp. 1130-32.
In addition to biographical data, Gustafson notes that Ondaatje's poetics indicate "a choice counter to the standard derivation" of that which is based on William Carlos Williams and the Black Mountain school. His language "was formal and musical; his content was balanced." He "can be what he wants to be: a metaphysician, sociologist, domestic or saint. His area is dainty monsters." He manifests "mythopoeic" and "comic" perspectives and has a "rescuing wit."
C5 Rodriguez, Elizabeth. "A Report on the Poets at Festival 70 (Bishop's University)." The Fiddlehead, No. 84 (March-April 1970), pp. 124-25.
Rodriguez notes that Ondaatje found himself compelled out of fairness to defend bpNichol against accusations that he is not a poet. Ondaatje is "more concerned with applied art than discussed art. With his technical skill, universal scope and boundless imagination, Ondaatje rather than Nichol should be the one feared." Ondaatje seemed to find discussions about "'What is Canadian poetry?'" and "'What makes a Canadian poet?'" "pointless."
C6 Barbour, Douglas. "The Young Poets and the Little Presses." Dalhousie Review, 50 (Spring 1970), 124.
Ondaatje's the man with seven toes is concerned "with myth, with passion and violence," "is full of terror and awful feats," and "is a poem of great power and sweep, which concentrates with mythopoeic intensity on human fortitude under stress." The Dainty Monsters "remains one of the finest books of the past decade.... Personal life, animal life, and legendary life, all forms of life are captured in his poetry, and Ondaatje possesses a technique capable of handling every theme."
C7 Mandel, Eli. "Modern Canadian Poetry." Twentieth Century Literature, 16 (July 1970), 181. Rpt. in Another Time. By Eli Mandel. Three Solitudes: Contemporary Literary Criticism in Canada, No. 3. Erin, Ont.: Porcepic, 1977, p. 88.
Mandel briefly notes Ondaatje's "elegantly controlled world" and notes that the common ground for the poets in New Wave Canada: The New Explosion in Canadian Poetry (see B1-B4) is their "openness and 'objectism.'"
C8 Sharp, Daryl L. Commentator, 15 (March 1971), 13-14.
Sharp admires Ondaatje's "immense creative talent," finding there is "nothing to match [Billy the Kid] in terms of conception and sheer writing skill, since Leonard Cohen's Beautiful Losers.... Ondaatje offers a series of close focuses that are essentially suggestive; they leave out more than they contain. It is up to us to fill in the blanks."
C9 Gillan, Thomas. "Pot Shot at Book Was Way Off the Mark." Letter. The Toronto Star, 7 Dec. 1971, p. 7.
Gillan responds to the alleged criticism by former Prime Minister John Diefenbaker of The Collected Works of Billy the Kid: Left Handed Poems, stating that the criticism "was so far off the mark as to miss...[Ondaatje's] book completely. But then it is very difficult to hit a ghost, or any other work of the imagination."
C10 Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, pp. 76, 84.
The majority of poems in The Broken Ark: A Book of Beasts support the "Canadian tradition: the animals in them are dead or dying, their deaths usually caused by man," but, in Ondaatje's poems, "...the animal is more likely to incorporate a vitality and energy (which man finds threatening) than to be a suffering victim." See C18.
C11 Scobie, Stephen. "Two Authors in Search of a Character." Canadian Literature, No. 54 (Autumn 1972), pp. 37-55. Rpt. ("Two Authors in Search of a Character: bp Nichol and Michael Ondaatje") in Poets and Critics: Selection from Canadian Literature 1966-1974. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1974, pp. 225-46. Rpt. (excerpt--untitled) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 409-10.
Scobie compares the treatment of the legend of Billy the Kid in bpNichol's The True Eventual Story of Billy the Kid and Ondaatje's The Collected Works of Billy the Kid: Left Handed Poems. Ondaatje's book operates on the level of "legend, or myth," which is "beyond history" and powerful in "its stability, its vividness, its energy," whereas "Nichol's Billy is at the bottom of the power structure." Ondaatje's "mythmaking" process "fixes a certain view of the Kid into an intense, fully realized image," whereas Nichol's "'eventual' truth" is "insubstantial, flickering, changing, dying"--"a joke." Ondaatje works within "the Romantic tradition of the artist as outsider": "Billy the Kid, outlaw as artist, and Michael Ondaatje, artist as outlaw, meeting in one persona, which is part history, part legend, part aesthetic image, part creator of images." Ondaatje's selectivity (his omission of the Lincoln County War and other details) centres the "violence in terms of the poetic image of energy: the energy necessary to both outlaw and artist." Both the "harmony and the manic destruction are most clearly seen in the animal references." Ondaatje's drastic alteration of the size and importance of the Chisum ranch also reveals his intentions. As in the "Pastoral tradition,...elements of disruption are present even in this perfectly achieved harmony, balance, control of energy" of the Chisum ranch. Ondaatje "stacks his deck" so that the "violence exists around him [Billy] rather than in him" and is thus "destroyed by something outside himself, something that itself remains calm and indestructible: and therefore, all the more terrifying. Garrett's character . . . presents an interesting paradox: he is himself an embodiment of order, control"; yet in contact with Billy he becomes the "altered move which produces chaos," or, at least, a directed violence.
C12 Watson, Sheila. "Michael Ondaatje: The Mechanization of Death." White Pelican, 2, No. 4 (Fall 1972), 56-64. Rpt. in Open Letter, Ser. 3, No. 1 (Winter 1974-75), pp. 158-66.
Watson links Siegfried Giedion's "classic" Mechanization Takes Command to Ondaatje's The Collected Works of Billy the Kid: Left Handed Poems. Giedion's project is outlined as "the concept of movement which underlies all mechanization," "the elimination of the complicated handicraft marking the beginning of high mechanization...in America during the second half of the nineteenth century." It is from this period that "Ondaatje salvages images for his new work..., the concept of movement [being] central to Ondaatje's work." Ondaatje's "vision is steady--or at least like Huffman he works from the saddle effectively. His voice is simple and flexible. It has considerable range. He rarely shields himself with irony...." He is "as intelligent as Auden but less afraid of what living means . . . ; [he] suffers less from shock than some poets of the generation which preceded him because he has been attentive to the seismograms which their experience affords him" and "does not seem to be unduly preoccupied in any absolute way with his function as a poet because, if I can judge from his poetry, he is aware that all life maintains itself by functional specialization of some kind and as often as not loses itself for the same reason." In The Collected Works of Billy the Kid: Left Handed Poems, he "digs where the brute fact of Mailer's Chicago is parodied in the heroics of frontier legend which is even now being thumbed through again and rephotographed by students of south-western history or by amateur historians." His "method is paratactic and explosive." It "expresses no moral outrage. He dwells on paradox in the dangerous cognitive region which lies between reportage and myth." Watson sees Ondaatje's monsters as "flesh and like all flesh are grass but they are also machines. They fly with the precision of watches and arch their feet like compasses. Heavy with flesh they gyrate. Axed in the shoulder and neck they wheel and waltz 'in the French style' to their knees."
C13 Fulford, Robert. Interview with Ron Evans. This Is Robert Fulford. CBC Radio, 9 Dec. 1972.
In this interview with Ron Evans, film and literary officer at the Ontario Arts Council, Evans discusses the Ontario Arts Council's support and promotion of short films made in Ontario. Evans notes that Ondaatje's Sons of Captain Poetry, which barely missed being shown at the Canadian film awards because of a lack of a proper category, was remarkably good and should have cost ten thousand, instead of three thousand, dollars to make.
C14 G[eddes]., G[ary]. "Ondaatje, Michael (1943- )." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 238-39.
Geddes includes biographical data and notes that "Ondaatje's poetry shows the signs of this collision of three cultures in its energy, its personal flavour, and its formal beauty." "Many of his poems contain an element of the gothic.... Ondaatje is a talented narrative poet" who uses "surreal, nightmarish imagery."
C15 Gnarowski, Michael. "Ondaatje, Michael, 1943- ." In his A Concise Bibliography of English Canadian Literature. Toronto: McClelland and Stewart, 1973, pp. 89-90. Rev. ed., 1978, p. 105.
Bibliographical data.
C16 Strickland, David. "Quotations" from English Canadian Literature. Modern Canadian Library. Toronto: Pagurian, 1973, p. 113.
Lines from "Paris, 1967" are cited under the heading "Money."
C17 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 88, 139.
Ondaatje is listed among poets who "study the ultimate isolation of a dream world" and, with his birth in Ceylon [Sri Lanka] and the American folkheroes and anti-heroes in his works, is cited as an example of Canadian poetry's assimilation of nations.
C18 Atwood, Margaret. "Surviving the Critics: Mathews and Misrepresentation." This Magazine, 7, No. 1 (May-June 1973), p. 32. Rpt. ("Mathews and Misrepresentation") in Second Words: Selected Critical Prose. By Margaret Atwood. Toronto: House of Anansi, 1982, p. 142.
Atwood argues that the poetry of Ondaatje and others was omitted from her Survival: A Thematic Guide to Canadian Literature because "It seems to me dangerous to talk about 'Canadian' patterns of sensibility in the work of people who entered and/or entered-and-left the country at a developmentally late stage of their lives." See C10.
C19 Barbour, Douglas. "Three West Coast Poets and One from the East." The Lakehead University Review, 3 (Fall-Winter, 1973), 240, 243, 244, 245.
Comparing Ondaatje to three West Coast poets (Daphne Marlatt, Fred Wah, and David Dawson), Barbour notes that "Ondaatje tends to use narrative structures, even in his shorter poems," telling "stories in his poems, or he assumes them and writes out of an apparent narrative context...while the West Coast poets tend to use metaphysical or ritualistic structures in them," resulting in a "much greater range of emotional and tonal effects." Barbour finds Rat Jelly "an incredibly rich book of poetry," citing in particular, "Billboards," "Burning Hills," "Letters & Other Worlds," "We're at the Graveyard," and "White Dwarfs."
C20 Davey, Frank. "Michael Ondaatje (1943- )." In his From There to Here: A Guide to English Canadian Literature since 1960. Vol. II of Our Nature--Our Voices. Erin, Ont.: Porcepic, 1974, pp. 222-27.
"Ondaatje has a thoroughly disconcerting talent for presenting the ordinary in an extraordinary way." He is "a deliberate craftsman, firmly controlling the pace of his lyric poems, and totally manipulating the structure and characterization of his longer narratives." His poems "reverberate with exotic violence," contain "a strong photographic element," and employ an "openly subjective and symbolic treatment of history and document." In his long narrative poems, Ondaatje attempts "radical experiments in writing technique.... The narrative voice switches without overt signal.... In his own defence Ondaatje manipulates and watches, not only surviving, but creating a superbly tense, multicolour, explosive, macabre work...." Davey includes a bibliographical checklist.
C21 Klinck, Carl F., and Reginald E. Watters. "Michael Ondaatje (1943- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, p. 578.
Brief biographical data.
C22 "Ondaatje, Michael 1943- ." In Contemporary Authors: A Bio-Bibliographical Guide to Current Writers in Fiction, General Nonfiction, Poetry, Journalism, Drama, Motion Pictures, Television, and Other Fields. Ed. Frances Carol Locher. Vols. LXXVII-LXXX. Detroit: Gale, 1974, 406.
Bio-bibliographical data.
C23 Watters, Reginald E. "Michael Ondaatje 1943- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, p. 701.
Brief bibliographical data.
C24 David, Jack. "Michael Ondaatje's The Collected Works of Billy the Kid." Canadian Notes & Queries, No. 13 (June 1974), pp. 11-12.
David suggests that The Collected Works of Billy the Kid: Left Handed Poems was influenced by the American poet Jack Spicer's poem, "Billy the Kid," which Ondaatje had favourably reviewed in his review of A Controversy of Poets, in Quarry (B181). "Both poems concern themselves with a reexamination of the myth of William Bonney, from a more objective perspective; and both use a similar variety of literary devices, namely: prose paragraphs, quoted conversations, shifting personae, and powerful lyrics."
C25 Whittaker, Herbert. "A Poet's Bid to Undo His Own Bandit." The Globe and Mail [Toronto], 25 Oct. 1974, p. 13.
Speaking of the book, Ondaatje says it "'began as a couple of poems.... I was obsessed with the character.... Billy became an alter ego, a persona.... I changed the facts of his life to suit myself. I'm not interested in the real Billy the Kid. In fact, I think he was probably a dull, boorish character.'" Whittaker discusses the events leading to the staging of the play as well as "his shorter work, The Man with Seven Toes," which "was given a late night staging" at Stratford in 1969 and the film about Paul Thompson's The Farm Show (The Clinton Special).
C26 Kertzer, J. M. "On Death and Dying: The Collected Works of Billy the Kid." English Studies in Canada, 1 (Spring 1975), 86-96.
Kertzer provides a detailed analysis of the text to substantiate the argument that the work is "based not on logic, but on insistence, on a continual repetition with variation of the facts and details and circumstances of death" using "imagery drawn from the Wild West, where life was stripped to primitive conditions. It is through this blending of sensations, incidents, and images that Ondaatje draws together the fragments of the Collected Works and makes them contribute to the central paradox of death and dying...to reconcile the energy of life and the violence of death."
C27 Farley, T. E. Exiles and Pioneers: Two Visions of Canada's Future 1825-1975. Ottawa: Borealis, 1976, pp. 193-94.
Ondaatje's Rat Jelly is listed among a number of disparate books by various authors, all of which are unified by being "variations on the exile theme."
C28 Enright, Robert. "Poetry Notes." CV/II, 2, No. 3 (Aug. 1976), 3.
Enright notes that Ondaatje "would like to found an Alan Crawley Memorial Fund for the purpose of making an annual award to a first book of poetry by a young poet." The editors of CV/II "fully support" the project.
C29 "Cohen, Leonard (1934- )." In Modern Commonwealth Literature: A Library of Literary Criticism. Ed. John H. Ferres and Martin Tucker. Preface R. T. Robertson. New York: Frederick Ungar, 1977, pp. 263-64.
An excerpt from Ondaatje's Leonard Cohen is quoted.
C30 Lee, Dennis. Savage Fields: An Essay in Literature and Cosomology. Toronto: House of Anansi, 1977, pp. 4, 15-60, 115-22.
Lee examines The Collected Works of Billy the Kid: Left Handed Poems and Leonard Cohen's Beautiful Losers to see "what silent assumptions these books were actually making about the order of things, and then to find a conceptual language that would do the assumptions justice." Lee refers to the no-man's land between civilization, reason, life, and order; and instinct, death, and perpetual chaos--the two psychic poles characteristic of modern existence. The Collected Works of Billy the Kid: Left Handed Poems, epitomizing this dualism, is "a concrete model of the savage field."
C31 Moss, John. Sex and Violence in the Canadian Novel: The Ancestral Present. Toronto: McClelland and Stewart, 1977, p. 307.
Moss briefly compares Ondaatje to Al Purdy, who "finds continuity in an obscure corner of the world" and "has discovered personal myth and evolved a language pattern that enables him to share it"; Ondaatje is cited as "a myth-breaker-delving into the infamous and alien adventures of William Bonney."
C32 Solecki, Sam. "Nets and Chaos: The Poetry of Michael Ondaatje." Studies in Canadian Literature, 2 (Winter 1977), 36-48. Rpt. in Brave New Wave. Ed. Jack David. Windsor, Ont.: Black Moss, 1978, pp. 24-50.
Solecki sees the "entire thrust" of Ondaatje's vision as "directed at compelling the reader to reperceive reality, to assume an unusual angle of vision from which reality appears surreal, absurd, inchoate, dynamic, and most importantly, ambiguous." The "tension between mind and chaos (the relationship between the nets of the perceiving and recreating mind and the 'chaos of life') is at the centre of Ondaatje's poetry; and its implications can be seen in the dualistic nature of his imagery, in the deliberate thematic irresolution of his major lyrics, and in the complex structuring of his two longer poems, the man with seven toes and The Collected Works of Billy the Kid." Solecki traces Ondaatje's development from The Dainty Monsters, with its examination of "the relationship between kinds of reality or modes of being," to the man with seven toes, with its "confrontation with the gradual acceptance of the darker, and more chaotic aspects of life," which aspects are both inside and outside of the self, to The Collected Works of Billy the Kid: Left Handed Poems, in which both events and characters are "consistently ambiguous" and paradoxical. Ondaatje presents the reader with "the 'collected works' so that he can experience them in their total complexity." Rat Jelly includes "Ondaatje's most emphatic statement about what poetry should be: 'The beautiful formed things caught at the wrong moment so they are shapeless, awkward moving to the clear.'" Other poems indicate that "an awareness that any attempt to come to terms with an emotionally charged complex of memories carries with it its own difficulties," namely, "the poet's limitations in getting all the truth down!" and confront "not just the unconscious, or process or chaos, but events that in their total human significance seem to demand a response of awed silence.... A supreme fiction in which the dualities of net and chaos...art and life, words and objects have been finally dissolved--but only at a price which the traditional poet cannot pay."
C33 Blott, Anne. "Stories to Finish: The Collected Works of Billy the Kid." Studies in Canadian Literature, 2 (Summer 1977), 188-202.
In an analysis of language, rhythm, and structure, Blott illustrates that "the richness of Ondaatje's vision" is a "montage of techniques designed to catch and to record the process of recollection" and the "disintegration of living things...." This is "seen in metaphors drawn from the still photo and the motion picture, [which is] conceived of as a series of stills infinitely arrangeable." References illustrate the "language and the visual technique of motion pictures," to show "machines as the agents of fixation and repetitive action [which] function through an interplay of forces," the mechanization being "beauty on the edge of madness,...the rigidities of the mind . . . juxtaposing beautiful exterior control with internal chaos.... This linking of life and death through the language and rhythms of the poetry informs the whole structure of the book .... The limits of perception...tightly correlate with the poet's act of recording his works." As in the photograph, "so the poetry...manipulates a scene, plays it back, and reshapes its new patterns. The book's business is to collect a picture of Billy and a record of the dialect and content of his works, and the poetry communicates the process through the poet's experience of Billy's character and exploration of himself."
C34 Whitten, Mark. "Billy, Buddy, and Michael: The Collected Writings of Michael Ondaatje Are a Composite Portrait of the Artist as Private 'I.'" Books in Canada, June-July 1977, pp. 9-10, 12-13.
Whitten furnishes background about the research and personal involvement in the shaping of Coming Through Slaughter, Ondaatje's personal interest in films, and audience response to Billy the Kid: "Half the people hate it, half the people like it." Whitten mentions works in progress, Coach House Press, and Ondaatje's "private life." Ondaatje notes that if he had originally written Billy the Kid as a play "'it would have hurt more.... Each production is very different.'"
C35 Mathews, Robin. Canadian Literature: Surrender or Revolution. Ed. Gall Dexter. Toronto: Steel Rail, 1978, pp. 158-59.
Mathews sees significance in the choice of The Collected Works of Billy the Kid: Left Handed Poems for a Canadian Governor-General's Award ("the choice by a Canadian of a U.S. folk hero for a major poem") and finds Ondaatje one of the poets who "believe that certain forms of non-political violence and rejection of what they take to be the values of capitalism constitute some kind of radicalism."
C36 Stevens, Peter. "Ondaatje, Michael (1943- )." In his Modern English-Canadian Poetry: A Guide to Information Sources. Vol. XV of American Literature, English Literature and World Literatures in English. Detroit: Gale, 1978, pp. 37, 41, 185-87.
Bio-bibliographical data. "Ondaatje's poems grow in a Gothic atmosphere, in an ambiance of violence and the macabre. Even the ordinary and the domestic take on overtones of garish melodrama and exotic extravagance.... His poetry offers sharply delineated pictures with dramatic flair, giving a cinematic flavour to much of his work."
C37 Kroetsch, Robert. "Contemporary Standards in the Canadian Novel." Calgary Conference on the Canadian Novel, Univ. of Calgary. Feb. 1978. Printed in Essays on Canadian Writing, No. 20 (Winter 1980-81), p. 15. Rpt. in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, p. 17.
Kroetsch cites Ondaatje's "fear of fact" and links him with Rudy Wiebe in their "subsumed eroticism." "Both furiously engaged with the language that at once announces and subdues their fear. Both, curiously, tempted by the myth of reality as it adheres in story."
C38 Mandel, Eli. "The Regional Novel: Borderline Art." Calgary Conference on the Canadian Novel, Univ. of Calgary. Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, pp. 103-04, 116.
Mandel links lines from "White Dwarfs" and Coming Through Slaughter, both of which speak of those "'who sail to that perfect edge....'" The "moral paradoxes of the spirit speak in both" Rudy Wiebe and Ondaatje.
C39 Scobie, Stephen. "His Legend a Jungle Sleep: Michael Ondaatje and Henri Rousseau." Canadian Literature, No. 76 (Spring 1978), pp. 6-21.
Scobie explores those "areas of affinity" between Rousseau and the writer "since Ondaatje's fascination with him is visible throughout his poetry" from "the lively interest in the bizaare, to the shifting of tone between absurdity and profundity," evidenced by "the coexistence, amounting to interpenetration, of a domestic scene and a jungle." For Ondaatje, "violence is the essence of the jungle, and time after time it breaks through his poems with disturbing effect,...always liable to erupt, and irony is frequently a way of dealing with the intensity of this perception.... The problem is to achieve some sort of equilibrium...not simply to repress such knowledge." There is "the obsession with fixing moving things in time..., a clear, unmoving image of a blurred movement towards clarity.... The artistic function, is as always to give form, to exercise control, to maintain equilibrium." Content and illustration "both in Rousseau and in Ondaatje, have centred on the role of animals," the "remarkable" aspect of Ondaatje's "fascination" being "that they retain their integrity and absolute identity as animals at the same time as they provide an almost continuous commentary on what is done in human society,...but if the violence is harsh, vivid, and uncomfortably convincing, the domestic scene is no less real" for his "poetry is full of images which establish the warmth, reality and humour of the domestic scene."
C40 Mandel, Eli. "The Border League: American 'West' and Canadian 'Region.'" Crossing Frontiers, Univ. of Alberta/Idaho State Univ., Banff, Alta. 15 April 1978. Printed in Crossing Frontiers: Papers in American and Canadian Western Literature. Ed. Dick Harrison. Edmonton: Univ. of Alberta Press, 1979, pp. 108, 110, 115-17, 118.
Mandel compares the "American Western" poem, typified by Edward Dorn's Slinger and Michael Ondaatje's The Collected Works of Billy the Kid: Left Handed Poems, to "the regional Western Canadian poem," as typified by Robert Kroetsch's The Ledger and Seed Catalogue. Ondaatje's form is "border blur," or "mixed genre." The filmic effects create a "narrative circling its target like a crazed camera wheeling back on the image it has attempted to locate." His "tendency to bring together images of sexuality, dismemberment, and poetics" are part of his "physiological imagination." The "mythic endlessly repeated act of dismemberment occurs at the border line, the interface of body and world... between sanity and insanity, between human machines and mechanical men, between gentle hunter and neutral assassin, between the dialectic of violence that is form and energy.... The sense in which I have taken Dorn and Ondaatje as American writers is not so much a matter of their sensibility as their poetic strategies: in choosing western forms for their poems, they chose space, in Olson's sense, as their subject, though . . . both [also] contradict space in their Westerns..." The "regional Western Canadian poem . . . begins in the East," with people like Al Purdy, and is modelled after William Carlos Williams.
C41 Bowering, George. "The Painted Window: Notes on Post-Realist Fiction." The University of Windsor Review, 13, No. 2 (Spring-Summer 1978), 28. Rpt. in The Mask in Place: Essays on Fiction in North America. By George Bowering. Winnipeg: Turnstone, 1982, p. 118.
Ondaatje's Coming Through Slaughter is given as an example of Post-Realism's concentration on "linguistic activity," which allows "you to feel as if you have attended the action...," rather than on removed character portraits.
C42 Scobie, Stephen. "Coming Through Slaughter: Fictional Magnets and Spider's Webbs." Essays on Canadian Writing, No. 12 (Fall 1978), pp. 5-23.
Scobie notes a "poetic" unity between Coming Through Slaughter and such earlier works as Rat Jelly ("White Dwarfs" section) and The Collected Works of Billy the Kid: Left Handed Poems. The subject of Coming Through Slaughter is defined as the experience "of a certain kind of artist: beset by fame, obsessed by problems of equilibrium, and ultimately self-destructive." The character of the detective Webb is seen as useful as a "narrative device" giving the work "thematic as well as structural significance." Drawing on Ondaatje's admission that the "private and fictional magnets drew him and Bolden together," Scobie views Webb as the other fictional magnet who along with the photographer Bellocq attracts "from the parameter of Bolden's experience, the two extremes to which he is drawn, between which he must choose." He is seen as "Bolden's most pitilessly demanding audience...trapping him as a spider traps flies," for Webb is "after not just facts but a kind of possession or identification." Asking the question of whether Ondaatje identifies with Bolden, Scobie finds "definite points of contact, such as the fear of audiences," but notes "decisive differences." Unlike Bolden, Ondaatje's art "is highly controlled and considered with the patterns of imagery intricately worked out and controlled." He "may write about, and be fascinnated by, white dwarfs, self-destructive artists, but he is not one himself." His ultimate identification is with Webb for Ondaatje's appearance in the book and pessimistic conclusion are an evaluation of "Bolden's limitations as an artist, and of the limitations of the whole concept of self-destructive artist."
C43 Solecki, Sam. "Making and Destroying: Michael Ondaatje's Coming Through Slaughter and Extremist Art." Essays on Canadian Writing, No. 12 (Fall 1978), pp. 24-47.
The novel is "a compelling study of the compulsively destructive nature of the creative impulse in a certain kind of artist" which is "about both a musician (Bolden) and a writer (Ondaatje and others)." Solecki views the "central character" of Bolden as a figure through whom Ondaatje analysed "the complex nature of his own creation,...the relationship between self-destructiveness and creativity, the influence of the audience upon the artist, and by implication, the concept of avant-garde." The subject of suicide is one of the "aspects of Bolden" which the critic traces to Ondaatje's earlier works, The Dainty Monsters and Rat Jelly. He finds that after The Collected Works of Billy the Kid: Left Handed Poems, Ondaatje "turns increasingly and more and more directly to his own life for his subject matter; and the aspect of his life that has most fascinated him is the fundamentally ambiguous nature of his own creativity." Noting the development of Ondaatje's writing, Solecki cites the poems "Letter & Other Worlds" and "King Kong Meets Wallace Stevens" from Rat Jelly as a prelude to Coming Through Slaughter to illustrate "the idea that the writer takes risks by creating," while maintaining a "detached tone" and sustaining the "tension between control and chaos." Solecki makes it clear that there is a "radical difference" between Bolden and Ondaatje. He finds the language and form of Coming Through Slaughter "controlled by a cool sensibility" that is able to recreate Bolden's anguish without assimilating "with that mode of being," moving between the world of Bolden and his own, "between silence and art, anarchy and order...without succumbing to them."
C44 Marshall, Tom. Harsh and Lovely Land: The Major Canadian Poets and the Making of a Canadian Tradition. Vancouver: Univ. of British Columbia Press, 1979, pp. xiv, 112, 123, 124, 125, 126, 144-47, 149, 153, 154, 163, 164, 167, 168, 169, 170, 172.
Ondaatje is cited among poets of the "fourth stage" in Canadian literature, who assimilate "process of language and consciousness and finished work." He is among those poet-novelists who have "extended the thematic, formal, and expressive possibilities of fiction in Canada" and who recently "seek to depict in fiction rather than in epic verse a world of primal psychic conflict, a dark underground of the soul in which the horror that accompanies the world's glory insists on itself." Ondaatje's "nihilistic world-consciousness" shows the hero's destiny "moving further and further from social and purposeful being." Marshall outlines Canadian (E. J. Pratt's "narratives of violence" and Leonard Cohen's "fragmented narrative," for example) and foreign influences on Ondaatje's work. "Ondaatje is at his best on longer works." His "descriptions of violent events have a tactile and kinetic quality that is somewhat rare in poetry, and the absence of any meditation or apparent moral or other attitude to his materials gives the work startling immediacy and power." Marshall discusses numerous perspectives and genres in The Collected Poems of Billy the Kid: Left Handed Poems. In Rat Jelly there is a "movement to silence, to the place where speech is meaningless. It is a black or negative mysticism.... He has developed his own original and flexible free-verse style in which language is often pared down...." Coming Through Slaughter enlarges upon art which "culminates in silence and darkness." The prose and poetry form is more balanced than in The Collected Poems of Billy the Kid: Left Handed Poems, but also "rather less challenging." Ondaatje does not suggest "how one might live in the face" of "darkness, violence, chaos, flux, mystery." Ondaatje is compared to a number of poets and poet-novelists.
C45 Pacey, Desmond. "The Course of Canadian Criticism." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1979. Vol. III, 28.
Ondaatje's Leonard Cohen "is full of brilliant apercus."
C46 Pacey, Desmond. Essays: Canadian Literature in English. Ed. and preface A. L. McLeod. Foreword H. H. Anniah Gowda. Powre above Powres, No. 4. Mysore, India: Centre for Commonwealth Literature and Research, Univ. of Mysore, 1979, pp. 131, 141.
Ondaatje is a Toronto poet; his first book "is distinctive and exciting"; he uses "delicately precise lines and stanzas.... Behind the ordinary surface of things he imagines all sorts of strange phenomena...." His images are surrealistic; his humour "is suitably mordant." He is "a poet to be watched with happy expectation."
C47 Ripley, John. "Drama and Theatre." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1979. Vol. III, 224.
"Michael Ondaatje's dramatization of his Collected Works of Billy the Kid (St Lawrence Centre, 1971) has been revived several times to critical acclaim."
C48 Woodcock, George. "Poetry." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1979. Vol. III, 286, 289, 296, 297, 298, 314.
Ondaatje is listed among those who have made a rapid reputation and who are "fine poets by any standard of excellence, fine in vision and craft alike." His Sons of Captain Poetry is "successful, because . . . [it is] carefully related to its subject's central intent." Along with Victor Coleman and bpNichol, Ondaatje is an exception to the "interesting but minor poets" in Raymond Souster's New Wave Canada: The New Explosion in Canadian Poetry. His The Broken Arc: A Book of Beasts is among anthologies "in which the curiosity of the theme tended to take precedence over the quality of the work." A Toronto Poet of the 1960s, Ondaatje is "immersed in the exotic, to the extent at times of Gothic exaggeration." The Dainty Monsters "contains many fine sand very personal lyrics, but the later volumes . . . tend greatly towards the surrealistic dislocation of actuality, often expressed in fantastic narrative."
C49 Thesen, Sharon. Introduction. The Capilano Review, Nos. 16-17 (Feb.-March 1979), pp. 2-3.
Thesen gives an account of the reasons for Ondaatje's and Daphne Marlatt's visits to Sri Lanka and Penang respectively. "Both writers enter a narrative that is larger than and prior to themselves, and they become part of the continuing they document." Ondaatje's "sense of privilege is subsumed to the surreality it permits, and every point of pain turns to laughter.... There is a monster at the heart of his [Ondaatje's] writing that he nearly stumbles over in broad daylight, and whose tongue, as he then recalls, contains the gift of story-telling."
C50 Dragland, S. L. "Questions of Form in Contemporary Canadian Writing." TICS [Univ. of Western Ontario], I, No. 1 (March 1979), 6, 22.
Coming Through Slaughter and Personal Fictions: Stories by Munro, Wiebe, Thomas & Blaise are among other works cited as "experimental." In a discussion of various critical forms, Dragland also cites Ondaatje's "critical celebration of One Hundred Years of Solitude (Gabriel Garcia Marquez)" in "Garcia Marquez and the Bus to Aracatara" (B179).
C51 Hutcheon, Linda. "'Snow Storm of Paper': The Act of Residing in Self-Reflexive Canadian Verse." Dalhousie Review, 59 (Spring 1979), 116-17.
Among other "self-reflexive" writers mentioned, Ondaatje uses "black/white imagery" in his The Collected Poems of Billy the Kid: Left Handed Poems to represent ink on paper and light on a negative. For Ondaatje, "photography is seen as an art that arrests motion, that fixes the living, that ultimately kills.... The opposition in the book becomes one of free motion and life versus fixed stillness and death.... It is a book that is as much about collecting as it is a collection.... Ondaatje's work is self-reflexive in yet another way.... [H]e provides the reader...with instructions of how to read the work, how the reader should collect his perceptions."
C52 Gallager, Noel. "Ondaatje Still Part of London Literary Community." The London Free Press, 6 April 1979, p. D6.
Gallager notes Ondaatje's ties to London, Ontario, and his opinion that London "has a very strong and active core of creative individuals establishing indigenous cultural activity," but who "are not recognized by . . . municipal financial grants or local cultural centres." Ondaatje thinks "local artists should be supported." When Theatre London presented The Collected Works of Billy the Kid, "audiences walked out in droves," but it was the theatre's "responsibility to make an audience aware of this kind of drama, in effect creating an audience for it.... Ondaatje recalls the London of the 60s and early 70s as a tremendous artistic community with the 20/20 Gallery and James Reaney's Alpha Centre." Ondaatje notes that it still exists "especially with people like UWO Prof. Stan Dragland and Don and Jean McKay producing literary pamphlets." Ondaatje "refused a Canada Council bursary in 1971" because he was ineligible.
C53 Abley, Mark. "Home Is Where the Hurt Is." Maclean's, 23 April 1979, p. 62.
Abley gives brief biographical information and notes that Ondaatje retreats to a farm in Eastern Ontario where he writes at a table in the barn. His novel, Coming Through Slaughter, was "edited in the dining car of a CP train going west." Ondaatje is "soft-spoken and witty" and has "a courtesy and gentleness of manner that seem to belie the ferocity of his art." Ondaatje says, "I try not to talk about the writing. There's so much ego involved. Writers who are personalities drive me up the wall." Abley quotes Ondaatje as once writing, "Nothing is more irritating than to have your work translated by your life."
C54 Kucherawy, Dennis. "Theatre Needs Artistic Identity." The London Free Press, 15 May 1979, Sec. A, p. 14.
In noting that Theatre London should "actively seek plays out from the local fabric," Kucherawy cites the example of Theatre Passe Muraille asking "Ondaatje to write a script based on his award-winning novel Coming Through Slaughter," for which Ondaatje also "received a similar request from an artistic director in Edinburgh, Scotland, who recently presented his The Collected Works of Billy the Kid."
C55 Woods, Elizabeth. "Poet's Progress." Quill & Quire, June 1979, p. 28.
Woods notes that Ondaatje, along with P. K. Page and Earle Birney, "toured U.K." last fall.
C56 Freedman, Adele. "From Gunslingers to Jazz Musicians." The Globe and Mail [Toronto], 22 Dec. 1979, Sec. Entertainment, p. 1.
In this profile, based on an interview, Freedman notes that Ondaatje has "the courage of his obsessions": "gunfighters," "jazz musicians," and "Scaramouche." Ondaatje admires "another artist fascinated by gunslingers, Sergio Leone." Ondaatje's The Collected Works of Billy the Kid: Left Handed Poems was inspired by films (Roy Rogers) and a subscription to Frontier News. Ondaatje "learned about jazz through films" (The Glenn Miller Story and Young Man with a Horn) and saw an editorial in a London, Ontario, newspaper which "'hooked me' . . . to find anything related to Bolden in the New Orleans Jazz Archives and The Jazz Archives in Tulane." Ondaatje "writes sequences, puts them away and doesn't look at them again--sometimes not before years have passed." He worked on Coming Through Slaughter for two years. "'I put myself into the characters' situations for a long period of time.... A lot of my own world gets into their stories. It's probably a major illness.'" Freedman discusses Ondaatje's Governor-General's Award for The Collected Works of Billy the Kid: Left Handed Poems and the staging of that play at Stratford and Theatre Passe Muraille.
C57 Bowering, George. "Modernism Could Not Last Forever." Canadian Fiction Magazine, Nos. 32-33 (1979-80), pp. 5, 8. Rpt. in The Mask in Place: Essays on Fiction in North America. By George Bowering. Winnipeg: Turnstone, 1982, pp. 78, 81-82.
In a general discussion of the reluctance of Canadian critics to accept Post-Realism, Bowering notes that "There are [however] signs" that Ondaatje and others are being viewed "as something other than oddities." Ondaatje's "portraits of Buddy Bolden & Billy Bonney resemble his photo portraits of Canadian writers."
C58 "Canadian Literature." Encyclopedia of World Literature in the 20th Century. Rev. ed. Vol. 1, 1980.
The author mentions Ondaatje's multiculturalism.
C59 Smith, Patricia Keeney. "Michael Ondaatje: A Poet Sets the Stage." Performing Arts in Canada, 7, No. 1 (Spring 1980), 30-33.
Comparing the stage adaptations for both Billy the Kid and Coming Through Slaughter, Smith highlights the strengths and weaknesses, finding Billy the Kid to be a more favourable adaptation. Billy the Kid "gives us raw, youthful, dazzling brutality combined with a wrenchingly singleminded joyride of energy and talent...an unflinching pure assault of extremes...achieving the cutaway efficiency of a film script before it's even considered for live theatre." In Coming Through Slaughter, however, Buddy Bolden "engages you on a very human level," but the "threads" of the novel "interrelate subtly but definitely, making excision and rearrangement for the stage extremely difficult." There is "an uneasy marriage between intriguing, suffering introspection and local New Orleans color, complete with eccentric characters." Smith discusses the difficulties inherent in adapting the novel for the stage arguing that rather than the "conventionally naturalistic style" used, what the play needs is the "punch of expressionistic technique--reality seen through a tortured psyche." Other difficulties of this play are that the author "deals with an actual artist rather than a symbolic one"; the production "tries too hard to be all things to all people"; and the "mixtures of styles" and "an imbalance of talent dilutes the total impact." Although Coming Through Slaughter is a unique book, the stage presentation "has not solved the problem of double-vision of being, apparently, in Bolden's mind and out of it."
C60 Portrait. Quill & Quire, May 1980, [front cover].
The cover features photographs of three winners of the Governor-General's Literary Awards in Vancouver.
C61 Solecki, Sam. "Point Blank: Narrative in Michael Ondaatje's the man with seven toes." Canadian Poetry: Studies, Documents, Reviews, No. 6 (Spring-Summer 1980), pp. 14-24.
the man with seven toes is "a pivotal book" in Ondaatje's movement "toward the longer and more experimental form." It does not go as far in the "direction of a temporally discontinuous form" as his later long works, but "aspects of its style and structure clearly anticipate the later developments." For Ondaatje, in order for a story "to become truly mythic,...the reader must be exposed to as direct and unmediated a representation...as art will allow." the man with seven toes is composed of "brief self-contained, often cinematic, lyrics." Thus, the reader encounters "a series of sensory and emotional shocks until, finally, like the character herself, the reader is numbed into accepting this surreal world as real. ...The continuity is implied rather than made explicit, and the terse almost imagistic poems are related by means of various kinds of montage (tonal, intellectual etc.) or juxtaposition as well as through the echoing of images from poem to poem." Solecki points out a number of such echoes. The "structure remains deliberately indefinite and avoids becoming a constricting grid, just as the repeated images themselves stop short of shifting into a symbolic mode of meaning." Solecki illustrates these points through a close examination of the text. Ondaatje's early lyrics "explore the border between form and formlessness," but "primarily on the level of content." Solecki also discusses Sidney Nolan's "Mrs. Fraser" series of paintings, on which this book was based in part. Ondaatje's alterations act to "universalize the meaning."
C62 Ondaatje Wins Literary Prize." The Globe and Mail [Toronto], 26 July 1980, Sec. Entertainment, p. 9.
Ondaatje is the second Canadian to win the Canada-Australia Literary Prize.
C63 "Pinnacles of Success (CAA Literary Awards)." Canadian Author & Bookman, 55, Nos. 5-6 (Summer-Fall 1980), 12-13.
Ondaatje's Governor-General's Award for poetry makes him "a double winner of prizes originated by the Canadian Authors Association"; the "book secured a third prize," winning the Canada-Australia Literary Prize.
C64 Sheard, Sarah. "SUNY Welcomes Canadian Poets." Quill & Quire, Dec. 1980, p. 19.
Sheard notes that Ondaatje, among fourteen "top Canadian writers," appeared in The Canadian Poetry Festival at the State University of New York in Buffalo and summarizes the event.
C65 Nodelman, Perry. "The Collected Photographs of Billy the Kid." Canadian Literature, No. 87 (Winter 1980), pp. 68-79.
The "people who do appear in later photographs seem incapable of the violence the book describes." Yet Ondaatje "implies an equivalence" between the photographs, the prose, and the poetry. Eadweard Muybridge's photograph on the cover suggests that (like Muybridge's sequential photographs of moving objects) Ondaatje's "'word pictures'" "do not actually move themselves," and are "similarly incomplete." Ondaatje's writing is "as devoid of emotion" as the photographs he chose to include, thus, keeping "emotional distance from the violent events . . . , and paradoxically, his dispassionate objectivity is so disproportionate that it amounts to misrepresentation." This allows Ondaatje his own interpretation. Billy "is the photographer," since these are the "'collected works.'" The book's structure "mirrors its protagonist's vision of himself and the world he lives in." Since the structure "denies the significance of chronological sequence," Billy's "character and his attitudes are static, his vision unchanging." Nodelman argues these aspects in relation to Billy's interest in "the way photographs depict the world" and the analogies between his perceptions and the process of photography. Ondaatje's "presentation of Pat Garrett, Billy's killer, implies that his real enemy is his own mad vision," for Garrett "seems to share that vision." Perhaps this book is "an exorcism, of the poet's admiration for his protagonist," but the similarities of the methods of photography and the work of artists suggest that "all attempts to fix the fluid movement of the world into an artistically satisfying order are murderous."
C66 Kroetsch, Robert. "The Exploding Porcupine: Violence of Form in English-Canadian Fiction." In Violence in the Canadian Novel since 1960/ dans le roman canadien depuis 1960. Ed. Virginia Harger-Grinling and Terry Goldie. St. John's: Memorial Univ., [1981], pp. 194-99.
Ondaatje and Audrey Thomas "anticipate a group of emerging Canadian writers who are... the gangsters of love." Coming Through Slaughter is "The great porcupine that wards off the world (words off the world), exploding from inside." Kroetsch points to "The camera as weapon," "A grammar of violence," "Violence in story," and "The refusal of form [that] releases the experience of violence into the reader's experience of reading." In his "tearing apart of plot...Ondaatje too does his creating.... He tears apart the plot that is his life. He discovers his gangstercomplicity in death.... The novelist becomes, beyond the Adam-pose of innocence, the gangster of love.... Not violence done, but violence in the doing.... Consequently, in the end that is not an end (and Buddy Bolden says of the right ending: it can mean exactly the opposite of what you are thinking); the exploding porcupine."
C67 Mathews, Robin. "Private Indulgence and Public Discipline: Violence in the English Canadian Novel since 1960." In Violence in the Canadian Novel since 1960/dans le roman canadien depuis 1960. Ed. Virginia Harger-Grinling and Terry Goldie. St. John's: Memorial Univ., [1981], pp. 40, 41, 42-43.
Ondaatje is cited as one of a group of writers who "came out of a tradition of individualism--a tradition that celebrates the writer's alienation and isolation." Coming Through Slaughter is presented "as a carefully researched piece of documentary fiction that becomes increasingly the personal history of its author.... It is almost unmotivated violence and so can be celebrated as a part of individual peculiarity, and, perhaps, the cult of Michael Ondaatje."
C68 Moss, John. A Reader's Guide to the Canadian Novel. Toronto: McClelland and Stewart, 1981, pp. 223-24, 355, 360, 363, 365.
Coming Through Slaughter is "not really about Buddy Bolden," but "about Michael Ondaatje: Bolden just provides the facts, the mythology of his style and times.... [I]t is the artist's soul that is being offered up.... What holds it all together is jazz rather than the conventions of prose fiction. Form is not skeletal, but fluid and alive," and "fractious." "The characters populate graphic scenes of violence and poignancy, but are not realized as dramatic individuals in their own right. The point of view shifts radically and abruptly, but a voice and viewpoint predominate which remain apart from the present action. The language is precise and evocative.... At times, words and images speak so directly to the reader that mind is circumvented altogether." This book is listed under various categories in the Appendix, such as "poet-novelist" and "Experimental or Avant-Garde Novels."
C69 Nichol, bp. Cover. About Books Catalogue [Toronto], No. 63 ([1981]), [front cover].
In reference to Ondaatje's trip to Sri Lanka and Daphne Marlatt's trip to Penang, Nichol draws a picture of the two conversing behind a palm frond and says they are "caught in relaxed mode while researching the 3rd International Indian Ocean Nostalgic Notation Meet." Nichol invents an award and notes "Ondaatje won in the Novel Noun division while Marlatt swept the Holdingthe-Breath-Line-Longest competition."
C70 Porter, John. "A Canadian Nobel Prize Winner?". Academy of Canadian Writers Newsletter, 2, No. 2 (Feb. 1981), 2.
Porter suggests one bet on Ondaatje, "a dark horse," for the Nobel Prize since he is "a creator of a new art form, an inventor of a style, a man who has founded his own literary country and keeps putting flags there lest anyone be mistaken." Ondaatje's "new art form" is "a collage of photography, poetry, interview, prose narration and description, fairytale and biography" and is most visible in The Collected Works of Billy the Kid: Left Handed Poems. His "new style, an imageladen prose moving with the energy of trains and the absolute clarity of a tropical morning, hits its mark in Coming Through Slaughter."
C71 MacLulich, T. D. "Ondaatje's Mechanical Boy: Portrait of the Artist as Photographer." MOSAIC: A Journal for the Comparative Study of Literature and Ideas, 14, No. 2 (Spring 1981), 107-19.
MacLulich analyzes the special relationship of photography "both literal and metaphoric" in The Collected Works of Billy the Kid: Left Handed Poems. "Photography supplies an apt metaphor for Billy's detached way of responding to the external world" and offers a commentary "on the far-reaching effects of that mechanical way of perceiving the world." Further, Billy "seems remote from his own experience," establishing "a rigid, machine-like control over his inner self" to protect himself from "the arbitrary violence of the external world." MacLulich concludes that Billy and Pat Garrett embody "in exaggerated form the alienation from one's inner self...so often created by twentieth-century technological society" in "a world indifferent to individual identity" and directed by "arbitrary forces." Ondaatje's "photograph album" of Billy ("as lover, as anarchic desperado, as debonair Western gentleman, as the wise-cracking subject of a newspaper interview, as comic book hero") "exploits the paradoxical relationship of photography and motion." As with Eadweard Muybridge's sequential photographs, "Ondaatje's images of Billy do not create a static portrait, but a shifting and elusive picture." Both Pat Garrett's and Billy's prose passages maintain the "mask of perfect control," but the poetry shows Billy's "emotional conflicts, which he projects onto the world around him."
C72 Bilan, R. P. "End the Governor General Awards?". The Canadian Forum, June-July 1981, p. 31.
In a general article on books to receive Governor-General's Awards, Bilan argues his scepticism in their value by listing a number of worthy books which have not received the award. Ondaatje's Coming Through Slaughter is cited as one "of the best Canadian novels" of the last ten years, which, in 1976, lost to Marian Engel's Bear.
C73 Bentley, D. M. R. "A Stretching Landscape: Notes on Some Formalistic Continuities in the Poetry of the Hinterland." CV/II, 5, No. 3 (Summer 1981), 16-17.
Bentley states that this entire article (pages 6-18) "might be construed as thoughts towards a gloss and elaboration on," amongst other things, and a number of other critics, Ondaatje's observation in the Introduction to The Long Poem Anthology that, although Canada "'supposedly sparked the idea of Imagism,'" we "'turn around and have to come to terms with the vastness of our place or our vast unspoken history.'"
C74 Levenson, Chistopher. "Ironic Fairness and Other Qualities." Rev. of A Planet Mostly Sea, by Tom Wayman; Living on the Ground: Tom Wayman Country, by Tom Wayman; To Say the Least: Canadian Poets from A to Z, ed. P. K. Page; and A Balancing Act, by Florence McNeil. CV/II, 5, No. 3 (Summer 1981), 24.
Ondaatje's "Fabulous Shadow," in the P. K. Page anthology, is a "superbly precise invocation of Icarus."
C75 Goldie, Terry. "For Sheila Watson." Rev. of Figures in a Ground: Canadian Essays on Modern Literature Collected in Honor of Sheila Watson, ed. Diane Bessai and David Jackel. Canadian Literature, No. 90 (Autumn 1981), p. 146.
Ondaatje's "Garcia Marquez and the Bus to Aracataca" (B179) "simply shows the way that the influence of someone like Marquez can lead even an excellent writer to confusion."
C76 Smith, Patricia Keeney. "Poets Find a Voice to Stage Their Words." Performing Arts in Canada, 18, No. 4 (Winter 1981), 45.
Ondaatje "is intense and concentrated as he explores his inner and outer violences, or recreates his eccentric Ceylonese family." Smith includes a photograph.
C77 Atwood, Margaret. Introduction. In The New Oxford Book of Canadian Verse: In English. Ed. Margaret Atwood. Toronto: Oxford Univ. Press, 1982, pp. xxiii, xxxviii.
Although Ondaatje's work "evades categorization," his "exotic imagery and violent miniplots have gained him a reputation as one of the most vital and inventive of the younger poets."
C78 Blodgett, E. D. "The Canadian Literatures as a Literary Problem." In his Configuration: Essays in the Canadian Literatures. Downsview, Ont.: ECW, 1982, pp. 34, 37n.
In a discussion of "pluralism" in Canadian writing, Blodgett notes Ondaatje's essay on Gabrielle Garcia Marquez (B179) and suggests that his prose can be "traced" from Marquez.
C79 Blott, Anne. "Michael Ondaatje 1943- ." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto/Downsview, Ont.: General / ECW, 1982. Vol. II, 317-18.
Ondaatje "retrieves and reshapes information from history, myth, and legend, including...pop culture...." His "longer works expose the reader to intense pain, fear, and violence located in grotesques." He writes with "a taut line" and an "acute sense of detail.... Catch, freeze, immobilize, collect, and photograph suggest recording devices for realities masked in whiteness, night, and ambiguity." His metaphors "invoke process and journey as models of creation." He also "demonstrates that the very instruments . . . of perception alter the thing observed." Blott includes bio-bibliographical data.
C80 Woodcock, George. "Canadian Poetry: An Introduction to Volume One." In Canadian Poetry. Ed. Jack David and Robert Lecker. New Press Canadian Classics. Toronto/Downsview, Ont.: General / ECW, 1982. Vol. I, 15, 18.
Ondaatje's The Long Poem Anthology is listed among anthologies which support the "notable tradition of longer poems" in Canada. The size of Ondaatje's long poem makes it possible to include in anthologies, but it is "well worth searching out."
C81 Woodcock, George. "Canadian Poetry: An Introduction to Volume Two." In Canadian Poetry. Ed. Jack David and Robert Lecker. New Press Canadian Classics. Toronto/Downsview, Ont.: General / ECW, 1982. Vol. II, 24.
Ondaatje takes "surrealist insights, but builds them into structures of narrative or of ironic reflection, so that the absurd representation of actuality becomes a vehicle of poetic insight, of imaginative liberation..."
C82 Ratner, Rochelle. "Voices of the Underdog." CV/II, 6, Nos. 1-2 (Winter 1982), 105-08.
Ondaatje has influenced many American poets developing "in the late 60s and early 70s." Rather discusses Ondaatje's development of surreal images, his "poems in persona," his "animalistic sense of humor," and his movement "away from the lyric and into a more narrative, prosaic line." the man with seven toes is the most problematic of his works. In The Collected Works of Billy the Kid: Left Handed Poems, the "alternating prose and verse passages...show the silent space one feels when alone...." The numerous diversions from the narrative make Ondaatje's voice "distinctive," though some passages seem "off the wall" and pointless. Ondaatje is "able to let the image create its own understanding" and is "a master of understatement" which often leads "to humor." "Emotion . . . is what Ondaatje remains most concerned with." In Coming Through Slaughter, Bolden is so "private" a figure that only he "can explain some of his actions." Ondaatje's "splitnarrative works perfectly" here. "Oblique hints and fragments, so confusing in The Man with Seven Toes, become in this more substantial narrative the cherished, mysterious passages." The "found" material adds to rather than detracts from the narrative. "There is an absolute beauty and peacefulness which Bolden finds in violence, and in the images of violence, followed by a sudden withdrawal from it into serenity...." Ondaatje is attentive to "physical details" and compassionate with all his characters. "Ondaatje's style has become more permissive and fluent enough to embrace almost anything, including himself as a collector of bits and pieces...."
C83 Wachtel, Eleanor. "Prize and Prejudice." Books in Canada, March 1982, p. 12.
In an article about the selection of books that have received the Governor-General's Award, Wachtel cites Ondaatje's 1970 award as evidence that "younger talent" has previously been noticed.
C84 Cooley, Dennis. "An Interview with Don Gutteridge." CV/II, 6, No. 4 (Aug. 1982), 41-42.
Gutteridge notes the direct influence of The Collected Works of Billy the Kid: Left Handed Poems on his own Tecumseh. Reference in particular is made to the "necklace of blood"--"one of the most powerful lines in Billy...and I wanted to use it." Ondaatje is "very quiet and shy.... [H]e's got that Ceylon jungle in his imagination...." Gutteridge "got to know him in the late '60's in London and went to his first reading."
C85 [Levenson, Christopher.] "Editorial: The Long Poem in Canada." arc [Carleton Univ.], No. 7 (Autumn 1982), pp. 5-6.
In a discussion of the form of the long poem, Levenson questions Ondaatje's quotation from Jack Spicer in the Introduction to The Long Poem Anthology "espousing the concept that all a poet's work (is) one continuing poem which must be never fully realized (confined) within the boundaries of one poem." In this "concept of inclusiveness" the "emphasis is displaced from artifact to artificer, trivia are accorded quasimystical significance," and those who "think of the poet as a Maker, find most of the products of this attitude to poetry slipshod, haphazard, selfindulgent and lacking in structure or direction."
C86 Clarke, Cera. Letter. Now [Toronto], 2-8 Dec. 1982, p. 4.
In this letter regarding Ron Mann's film Poetry in Motion (B216), Clarke notes "a cast of vipers" and "other organ-centred males. Michael Ondaatje spends 20 minutes trashing eloquently in a poem about how bad his little niece's voice was.... It's time the world didn't laud The Poet as Predator."
C87 Lane, M. Travis. "Contemporary Canadian Verse: The View from Here." University of Toronto Quarterly, 52 (Winter 1982-83), 183.
Lane refers to Ondaatje's "ruthless shedding or rewriting of history . . . [which is] a source of strength.... So pervading is this dreamlike tone" in his verse that "...one is sometimes tempted to think that the whole of his envisoned world would crumble instantly upon the application of a good breakfast."
C88 Bennett, Donna, and Russell Brown. "Michael Ondaatje, b. 1943." In An Anthology of Canadian Literature in English. Ed. Donna Bennett and Russell Brown. Vol. II. Toronto: Oxford Univ. Press, 1983, 569-70.
Ondaatje's prose and poetry "evince his strong interest in narrative form." He writes "a poetry of vivid gestures..., the gesture turned violent..., or the grandiose gesture...." His voice is "at times coldly objective" and contrasts with "the warmth and familiarity that arise out of his sharply etched depictions of everyday, domestic events, [which] gives his work surprising emotional intensity.... The surgical precision of this writing holds both author and reader at a great distance from the subject: his characters are watched but not joined. There is everywhere in his work a buried internal conflict, the union of personal violence and tenderness simultaneously felt and carefully held in check." Bio-bibliographical data is also included.
C89 Wolfe, Morris. "The Browser. Making History: From the Perils of Heterosexual Feminism to the Prospect of a Future Without Nuclear War." Books in Canada, March 1983, p. 29.
Wolfe registers "a dissenting view on the highly overrated film," Poetry in Motion (B216), "a film about poetry for people who don't really like poetry.... Occasionally you get a good poet reading a bad poem well (Michael Ondaatje)."
C90 Aubert, Rosemary. "Poetry in Motion, a Film by Ron Mann." Poetry Canada Review, 4, No. 3 (Spring 1983), 6.
Ondaatje "is obviously afraid of the camera...can't play to it; he blinks; he looks away. Yet, this is one of the most touching and revealing of the portraits as Mann captures "the tentative, questioning quality of this poet--the poet as one who offers, without bravura, his words." See B216.
C91 Oughton, John. "Sane Assassin: The Double Life of Michael Ondaatje, Mild-Mannered Professor of English Literature and Risk-Taking Celebrator of Madmen." Books in Canada, June-July 1983, pp. 7-10.
Ondaatje estimates that The Collected Works of Billy the Kid: Left Handed Poems "sold about 20,000 copies including a U.S. trade edition. Ann Wall of Anansi Press says that 'it's going to be in print forever'" and recalls the book starting with a slow moving run of 1,500-2,000. Oughton includes much biographical data. Ondaatje is cited as saying "'...after you work on a book like that [Running in the Family] for a while you begin to forget if you made this up, or if that was a true story.'" Answering critics who "have detailed the two-way traffic between fact and fiction, history and imagination in Ondaatje's books," he says he "has tried for a different balance in each work." Speaking of the medium of film, "He calls movies 'the main source of mythologies we have'...." He is "at home with a multiplicity of media and genres" and "suspicious of state-of-the-art aids." For "the process of creation, 'paper and pencil are best.'" Ondaatje refers to a present collaboration "on a screenplay with Paul Thompson...a screen version of Robert Kroetsch's 1975 novel Badlands, which concerns an epic and aimless journey on a raft through Alberta's badlands" as well as a "long-time project, a novel set in modern Canada." He "continues to write poetry" while working "on prose projects," stating that he needs "to go back and forth between poetry and prose constantly." He refers to writers he admires and finds that "'one of the big problems still in Canadian writing is that the really interesting new stuff is ignored.'" Oughton notes that "...his violent and colourful imagery has a source in Sri Lanka" and its "everyday risks"--"the sense of threats of potential instability in nature and man.... Another major source, he reveals, lies in his dreams." The article and the front cover of the journal include portraits of Ondaatje.
C92 Johnston, George. "Diction in Poetry." Canadian Literature, No. 97 (Summer 1983), p. 42.
Ondaatje's "Henri Rousseau and Friends" is "form-conscious," shows a "candid delight in Latin," and has "a counterpoise of ferocity and gentleness of sentiment that is characteristic of Ondaatje's writing." Johnston compares the poem with a sonnet by Robert Finch.
C93 N[ew]., W. "Re: Forming Giants." Editorial. Canadian Literature, No. 97 (Summer 1983), p. 5.
Ondaatje's Tin Roof "is riddled with borders both concrete and imagined.... But order is an elusive quality if the borders are not to enclose, if order is to be found at all in flexible forms; and perhaps that is one sense of estrangement that has led so many recent writers on a quest for freedom through traditional patterns rather than by rejection of them.... Ondaatje admires ghazals...."
C94 "Selected Bibliography: Michael Ondaatje." Ethos [Toronto], I, No. 1 (Summer 1983), p. 64.
Brief bibliographical data for primary sources.
C95 Chamberlin, J. E. "Let There Be Commerce Between Us: The Poetry of Michael Ondaatje." Descant, [No. 42], 14, No. 4 (Fall 1983), 89-98.
The "distinctions between the comfortable conveniences of tradition and the strict observances of mancipation become an issue" for "the poet who is radically uncertain about what he is conveying, and what he has inherited." Because Ondaatje uses a familiar language "that does not need the formalities of mancipation because it has already been inherited according to the strict laws of cultural succession," Chamberlin leaves "the first category ["the language of discourse"] alone." But, in the second and third categories, "the tone of the poetic voice, and the role of the poet within the poem and his relationship to the world outside the poem," Ondaatje is "engaged in a process of trying to purify...the ways in which the author and the reader reach agreement that what is said is . . . beautiful and true." Ondaatje engages the issue with a voice of "affront" as well as with "tonal collage." Ondaatje "entertains the magical possibilities of another life," which "ensures that his poetry does not inherit and does not convey the familiar conditions of lyric expression, the dramatic monologue." Uncertainty "is generated out of the shifting location of the voice within the poem, inside and outside its actions, participating in and commenting on its implications...." Ondaatje's "witness" leaves "the identity of the speaker hovering between himself and another," "making his act of bearing wimess transparently an act, with the testimony no less important but needing a much more radical scepticism, and a much more stringent code to give authority to what it conveys, than any easy notion of tradition would accomodate. And through his testimony Ondaatje proposes that self and voice and audience and subject be returned to the formal arrangements of the literary equivalent of mancipation, to a more ordered code of conveying things ...." Ondaatje's position "is close to that of other contemporary poets writing out of situations that define essentially colonial predicaments, where language or audience or the identity and role of the poet are indeterminate."
C96 Kamboureli, Smaro. "The Poetics of Geography in Michael Ondaatje's "Coming Through Slaughter.'" Descant, [No. 42], 14, No. 4 (Fall 1983), 112-26.
Drawing on the theories of Charles Olson, Carl Sauer, Roderick Peattie, and John Kirtland Wright, Kamboureli argues that Coming Through Slaughter "exemplifies a geographer for whom geography is an integral part of his artistic vision.... Ondaatje's spatial perception is dual. It concerns the phenomenology of a physical landscape (Bolden is real both as a musician who lived in New Orleans and as a character in the book) and a cultural landscape (Bolden's music and the influence of jazz and prostitution on New Orleans, a physical environment)." Because of the relativity of time and space, Ondaatje supplies "what his own spatial perception lacks in content and precision . . . by means of his imagination.... The ambiguity of its [the book's] genre illustrates the mapping-out of the characters' different spatial perceptions." Kamboureli examines the "morphology of the book" in terms of the photograph, the sonograph, elimination and repetition, and the "dialectics of history and fiction: the docunlentary material." The book has "a polis,...a cultural and physical landscape" which "is entirely autonomous because it bears the signature of its own architect and geographer, Michael Ondaatje, and it is inhabited by Boiden as Ondaatje recreates him.... The street, with the constant motion that characterizes its life, is Bolden's natural landscape.... He refuses to enter into an end-oriented activity [and] . . . destroys the physical and cultural landscapes of his polls by creating his personal geography: land-escape.... Like Bolden, Bellocq wants to escape from the same polis." His destruction of the polis is exemplified in the fire he sets to the room. Bolden's roles as "a lover and an artist" are unified in the parade, "and completeness is the only state of being that Bolden's poetics of geography resists; which means that his entrance in the parade is also an exit."
C97 Solecki, Sam. "Michael Ondaatje." Descant, [No. 42], 14, No. 4 (Fall 1983), 77-88.
In Ondaatje's work, the "'I' is a third-person pronoun, a word whose referents lie in the poem creating it for the occasion.... You could almost read the entire body of his work as the reticent swerve away from memory, from self.... The desperate clutch through the mirror is a grab after Bolden, after self (after father) and, because Bolden is the artist as suicide, after the only forms of transcendence available in Ondaatje's completely secular and profane world." Before Tin Roof, Ondaatje writes "autobiographies in the third person. Yet even in Tin Roof there's the reluctance to give anything away." The poems retreat "into rhetorical feints of 'one' and 'you' and 'we.'...Ondaatje's reluctance to begin or to offer a beginning anticipates his reluctance or hesitance to end: . . . each of the longer works begins and ends more than once. The books don't so much end as dissolve suggestively back into the author...and into their successors." The title Rat Jelly "is his constant reminder that the 'jelly' (read 'poem') begins (sometimes? always?) with everything represented by and associated with the rat." The "'rat" is given voice but left unjudged . . . : the poems and longer texts contain almost no moral judgements and therefore cannot be tragic. Morality, like genre, pattern and order, is something the reader brings into the work." His "verse paragraph" can also begin "with a verb and an indeterminate subject--persona, poet, reader?" Ondaatje avoids "referents beyond the fiction of the book" and invites "a reading of spare, reticent surfaces.... A typical, if small, gesture always ends the book: the author's note...telling us what kind of book we have not read." Ondaatje's work contains a "network of hommages," sometimes "almost explicit and formal," other times "more inconspicuously" in inter-textual material. Solecki traces some affinities in imagery and notes that Ondaatje's "early debt to Leonard Cohen" is more "pervasive" and "often as much a matter of attitudes as of images." His critical study of Cohen "clarifies his own work as much as it does Cohen's."
C98 Wilson, Ann. "'Coming Through Slaughter': Storyville Twice Told." Descant, [No. 42], 14, No. 4 (Fall 1983), 99-111.
Using both the play script and the novel, Wilson first examines Bolden's exploration of form, chaos, and his eventual loss of control. She then examines the differences between Bolden and Bellocq, stating that "Envisioned as a balance between two equal and opposite forces, the relationship is a structure.... Bellocq's suicide destroys the balance." The "relationship is destroyed or formless.... Death, both literal and metaphoric, is characterized by silence, by black space--by formlessness." When Mrs. Bass's body disappears there "is literally no form to the murder." Ondaatje's account of Bellocq's death emphasizes "not the ethics of suicide but the structure" of falling into formlessness. Ondaatje's identification with Bolden "suggests his affinity with Bellocq for he, like Bellocq, relies on the mediation of surrogates.... The explicit theme of the novel is subverted by the mode of representation." Thus, Ondaatje "constitutes himself as a character in the novel and introduces a third artistic mode, writing.... Ondaatje signifies the common point, which balances the antithetic pair of Bellocq and Bolden. The writer and his art integrate the positions represented by Bellocq and his photography, by Bolden and his music." Ondaatje sets the Bolden-Bellocq "relationship within an interpretive context" (the "many sets of polarities" within the novel), which is not unlike Webb's theory of Mrs. Bass's death. "Both the writer and the detective discover form (or structure) and, therefore, meaning.... Both [also] discover Buddy Bolden." The role of the detective and the role of the audience are connected in observation and interpretation. "The adaptation of the novel to the stage offers Ondaatje an opportunity to explore the intersection of audience, detective and interpreter.... The moment of confession [in the novel] introduces the possibility that the voice offering first-person narration in the second and third parts of the novel is Ondaatje's and not Bolden's.... There is no moment of authorial intrusion in the theatrical version...." Thus, "text negates the authenticity of its presentation" in the "rational discourse.... Either Bolden is not truly mad or a directorial decision to break the illusion that the actor on stage is Bolden must be taken so that the theatricality of the actor assuming...the identity of a character is revealed."
C99 Aubert, Rosemary. "Guest Column." Poetry Canada Review, 5, No. 2 (Winter 1983-84), 14.
Aubert discusses Ron Mann's film entitled Echoes without Saying, a profile of Coach House Press. bpNichol and Michael Ondaatje, both dressed in tuxedos, remain in the mind "long after the last frame has clicked into dark silence." Ondaatje's "tentative shyness that he exhibited in Poetry in Motion [B216] is absent here, and his carefully considered and well-presented opinions point up the fact that Coach House has made a serious and lasting contribution to the Canadian poetry scene."
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C113 Reeves, John, adapted. Coming Through Slaughter. Dir. John Reeves. Prod. Alex Smith. Anthology. CBC Radio, 10 March 1979. (90 min.)
Adapted from Ondaatje's novel of the same title. The cast includes Eve Crawford, Richard Davidson, Barbara Gordon, Ron Hartmann, Tom Harvey, Cec Linder, Peggy Mahon, Don Mason, March McDonell, Frank Perry, Douglas Rain, Henry Ramer, Alfie Scopp, David Stein, and John Stocker.
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- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
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Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
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Part 2 Works On Michael Ondaatje; Articles and sections of books, thesis, interviews, adaptation, and awards and honours; Awards and honours
Brady, Judith (compiler)
C114 Ralph Gustafson Award (1965).
C115 E. J. Pratt Gold Medal for Poetry (1966).
C116 Norma Epstein Award for Poetry (1966).
C117 President's Medal, University of Western Ontario, London, Ont., for "Paris" (B20) (1967).
C118 Governor-General's Award for Prose and Poetry for The Collected Works of Billy the Kid: Left Handed Poems (1970).
C119 Chalmer's Award for Billy the Kid (1973).
C120 Books in Canada Award for First Novel for Coming Through Slaughter (1976).
C121 The National Magazine Awards Foundation, du Maurier Awards for Poetry for the series "Campion, Sri Lanka, Cow Dust, Pig Glass & Late Movies" (B106-B111) (1979).
C122 Canadian Authors Association Award for There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978 (1980).
C123 Department of External Affairs, The Canada Council--The Australian Council, CanadaAustralia Literary Prize ($2,500) (1980).
C124 Governor-General's Award for Poetry for There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978 (1980).
C125 First prize in the Short Story category in CBC Radio's Annual Literary Competition for "Passions of Lalla" (B217) (1982).
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
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- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
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Part 2 Works On Michael Ondaatje; Articles and sections of books, thesis, interviews, adaptation, and awards and honours; Interviews
Brady, Judith (compiler)
C101 Barbour, Douglas, and Stephen Scobie. "A Conversation with Michael Ondaatje." White Pelican, I, No. 2 (Spring 1971), pp. 6-15.
Ondaatje discusses the reasons for Sons of Captain Poetry's emphasis on sound poetry, the limitations of the film medium in portraying wordplay and "particular" works, and the reasons for producing this "fantasy documentary." Ondaatje discusses "organic" forms in traditional and concrete poetry, although he does not feel very qualified in discussing concrete. Although Nichol found "traces of concrete poetry" in the man with seven toes, Ondaatje experiments more with collage, than concrete, especially when there is a "lack of reality in words." The film is a "moving collage." Ondaatje notes the influence his wife's paintings have had on him. He discusses the process of selecting Nichol's works and the cooperative viewpoint which was presented. Robert Fresco, the cameraman, is also discussed. Because "So much depends on accident" in film, Ondaatje was not intentionally influenced by any director, and the co-operative experience is very different from writing. Ondaatje discusses the filming done in Captain George's Memory Lane. Both Ondaatje and Nichol are "very Hollywoodish" and are "arch-romantics." An important link for Nichol is being "a romantic and an anarchist simultaneously." Ondaatje discusses potential further involvement in the film media as interesting, but not highly likely at the present. He notes that there is not enough silence in the film and that it is really modelled on "The Joker is Wild." As with Nichol's The Martyrology, Ondaatje had little sense of where The Collected Works of Billy the Kid: Left Handed Poems was going, or whether it would be good or bad, until it was finished.
C102 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Milton Acorn, Margaret Atwood, Margaret Avison, Earle Birney, George Bowering, Victor Coleman, Leonard Cohen, Joan Finnigan, John Glassco, George Jonas, Irving Layton, Dorothy Livesay, Gwendolyn MacEwen, Eli Mandel, Alden Nowlan, Michael Ondaatje, P. K. Page, Al Purdy, James Reaney, and A. J. M. Smith. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 May 1971. (1 min.)
Part I of a seven-part series. Anderson interviews Canadian poets on the way they write poetry and what they do when they suffer any dry periods. Ondaatje talks about the importance of time and discipline in the writing of poetry. When he finishes a poem, he is "conscious of going through a kind of exorcism," and his poetry is a way of coming to terms with the many "devils" inside him. Poetry has always interested him because "...it's the only free art; it's the only free thing in our society."
C103 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Milton Acorn, George Bowering, Leonard Cohen, Victor Coleman, Doug Fetherling, Northrop Frye, Len Gasparini, Irving Layton, Dennis Lee, Gwendolyn MacEwen, David McFadden, bpNichol, and Michael Ondaatje. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 12 June 1971.
Part V of a seven-part series. In this program featuring the younger poets, Michael Ondaatje, bpNichol, and others discuss concrete poetry and experimental poetry in general. Ondaatje feels that concrete poetry does not detract from the written word--at best, it illuminates and, at worst, it garnishes. He feels that "...some concrete poets are just men who work with their hands rather than with their wit." After briefly discussing the work of bpNichol and bill bissett, Ondaatje states that "...if you simply believe that each man is his own self, then I don't see how anything can be incidental. I think that concrete poetry breaks it up."
C104 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Milton Acorn, Margaret Avison, Henry Beissel, Earle Birney, George Bowering, John Robert Colombo, Frank Davey, Ronald Everson, Joan Finnigan, John Glassco, Phyllis Gotlieb, David Helwig, George Johnston, George Jonas, Irving Layton, Anne Marriot, John Newlove, Alden Nowlan, Michael Ondaatje, James Reaney, Miriam Waddington, and Robert Weaver. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 26 June 1971.
Part VII of a seven-part series. Ondaatje discusses awards, poetry, and success and the "problem of judging one's own work once you've written it." He refers to his superstitution about the completion of The Collected Works of Billy the Kid: Left Handed Poems, "thinking that it was probably the best thing I'd written," but not showing it to anyone for two years and "not wanting to be too happy" and "spoil the possibilities of the poem." He sees "poetry as the only free art, the only free thing we have in civilization."
C105 Interview (by mail) with Michael Ondaatje by an Anonymous Correspondent. Manna, No. 1 (March 1972), pp. 19-22.
Ondaatje comments on early writing, imagery, myth in The Dainty Monsters and The Collected Works of Billy the Kid: Left Handed Poems, and his interest and involvement in films and filmmaking. The identity of the photographed child in a corduroy outfit at the back of the book is claimed as "me in Ceylon in a cowboy outfit...about the age of seven."
C106 Anderson, Allan. "Aspects of the Canadian Novel." Interview with Margaret Atwood, Clark Blaise, Hugh Garner, Hugh Hood, Douglas Le Pan, Norman Levine, Gwendolyn MacEwen, John Metcalf, Alice Munro, Michael Ondaatje, Desmond Pacey, P. K. Page, David Lewis Stein, and Kent Thompson. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 9 Dec. 1972. (1 min.)
Part VI of a seven-part series on the craft of fiction in Canada during the last half century. In this section of Part VI, Ondaatje discusses The Collected Works of Billy the Kid: Left Handed Poems. The book "has a poetic structure as opposed to a poetic prose" structure; the sections move together in a poetic way. The prose was "kind of freewheeling" and easier to write, "perhaps because the poems had already set up the structures" and "personality" very clearly. As "situations" developed in the book, Ondaatje had to decide whether to "deflate" his poetry or switch to prose writing to evoke situations "which couldn't be expanded in poetry."
C107 "The Charm of Kingston." CBC Tuesday Night. CBC Radio, 11 Dec. 1973.
This interview includes comments by Ondaatje regarding the "interpenetration of landscape and city," the area near Kingston, and a reading of his "We're at the Graveyard" (B212). Ondaatje also comments on the true landscape of Kingston "where the sense of history lives for me" --old houses, people, limestones, graveyards, evidences of the past. Kim Ondaatje, artist and wife of the author, talks about Blue Roof Farm where they live and where she began to paint.
C108 Gzowski, Peter. Interview with Eli Mandel. This Country in the Morning. Host Peter Gzowski. Prod. Alex Frame. CBC Radio, 17 June 1974.
Mandel notes that in "Dragon" Ondaatje "puts the exotic and the domestic together." The Dainty Monsters is a "tender book" and the poems in it are not violent. Ondaatje is "not just a lyric poet, he's got this thrust toward narrative" and there is "a sly wit . . . at work in the poems." Readers are misguided in focusing on the violent aspects of Ondaatje's work since "...he's much more interested...in how can you fix a scene... in the tension between things in motion and things that are still." "Letters & Other Worlds" is an example of his "concern with the personal and particular aspects of his life" and with "how difficult it is to get that clear." Jim Robertson also reads several of Ondaatje's poems on the tape (B187, B190, B204, B213-B215).
C109 Solecki, Sam. "An Interview with Michael Ondaatje." rune [St. Michael's College, Univ. of Toronto], No. 2 (Spring 1975), pp. 39-54.
An engaging and seemingly unstructured interview in which Ondaatje speaks of some of the key elements in making such documentary films as Sons of Captain Poetry and The Clinton Special: "talking photography." Commenting on his interest in film and in particular Sergio Leone's Once Upon a Time in the West, he notes "...here was an Italian film-maker making this Western, in many ways the last Western, where with Billy the Kid I was trying to make the film I couldn't afford to start, in the form of a book." Other aspects are also discussed, such as the origins and personalized "geographical references" of the man with seven toes, the collaborated design "presentation" of his poems with Coach House Press, and the "structuring" and revisions of his works. In addition, he comments on the influence of teachers and writers.
C110 Pierce, Gretchen. "Canada Gives Writer 'Sense of Place' Author of 'Billy' Keeps Low Profile." Halifax Chronicle Herald, 10 Oct. 1975, p. 30.
Pierce interviews Ondaatje in the office of the Neptune Theatre where Billy the Kid was in rehearsal. Ondaatje discusses the "selfish" act of writing and how the play is not "a western." Of the adaptation, he says, "'I always felt it was a play. It's a mixture of prose, poetry, and scenes from a life. Billy grew out of my obsession with that dark side of our nature; most people have it at certain times.... I started writing at 20 not knowing I really wanted to be a writer. It was the effect the Canadian landscape had on me.... The play doesn't try to explain why he [Billy] was that way or preach about good or evil, it presents him as a person and leaves it up to the listener to judge.... Maybe some will be offended by the language.... It wasn't written to offend, I have too much respect for the Audience. Writing Billy was a catharsis and I learned more about myself.'"
C111 Pearce, Jon. "Moving to the Clear: Michael Ondaatje." In his Twelve Voices: Interviews with Canadian Poets. Introd. Jon Pearce. Ottawa: Borealis, 1980, pp. [129]-43.
Pearce provides brief biographical data. Ondaatje discusses when he began to write, who his influences were, and his editing and writing processes. He notes that poems and books have organic structures and comments on his involvement with a character and the need to move beyond thematics to "style, technique, the method and movement of the poem." Ondaatje needs a balance of "gentleness and violence" in his works to articulate "a very real world." Billy and Bolden are both artists, yet it is difficult to generalize them into statements of the artist in society. For Ondaatje, "morality" is what is "human." The "artist" needs to be connected with "the real world" and not elevated above it. Pearce does not often receive detailed replies to his questions involving the interpretation of Ondaatje's poems. When questioned about the poet's responsibility to his poem, Ondaatje says it is "to remain silent after he's written the poem." Because the meaning is as much in the structure as in the content, paraphrase "can only destroy a poem." Pearce comments on the thin line between form and chaos that Ondaatje straddles to be able to communicate the live event. Ondaatje comments on the continuity of a writer's works and the poem as a process of clarifying, discovering, and "more." Neither Billy nor Bolden come to "pessimistic" ends, though the books are "not joyous." Ondaatje also comments on the amount of community input into his writing.
C112 [Whiten, Clifton.] "PCR Interview with Michael Ondaatje." Poetry Canada Review, 2, No. 2 (Winter 1980-81), 6.
Ondaatje speaks about the role of an editor from his experience as poetry editor for Quarry, the symbolism of the covers of There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978 and Rat Jelly, the influence of "poetry from other countries," and "fine" Canadian writers, of which, he mentions Roy Kiyooka, Colleen Thibodeau, Sharon Thesen, Christopher Dewdney, Phyllis Webb, and David Donnell.
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
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Record: 381- Title:
- Part 2 Works On Michael Ondaatje; Articles and sections of books, thesis, interviews, adaptation, and awards and honours; Thesis
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- Part 2 Works On Michael Ondaatje; Articles and sections of books, thesis, interviews, adaptation, and awards and honours
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- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP2
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Brady, Judith (compiler)
C100 McColm, Sheila Clare. "Metaphorical Style and Thought in the Poetry of Margaret Avison and Michael Ondaatje." M.A. Thesis Western Ontario 1981.
Both Avison and Ondaatje "share an interest in the innovative use of figurative language." McColm examines "the way that metaphor is thought of and used" by these two writers. The poems analyzed "display stylistic innovations that are, to a large extent, dependent upon metaphorical strategies...." Both poets venture "into unexplored lands of thought," and their language strives "to render the new forms of consciousness...." Chapter IV, which concentrates on Ondaatje, examines metaphor that creates the place "'where the raw of feelings exist.'"
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
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Record: 382- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Coming through Slaughter
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- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
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- Brady, Judith (compiler)
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- Bibliography
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- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: COMING through slaughter (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Coming through Slaughter
Brady, Judith (compiler)
D44 Lecker, Robert A. Rev. of Coming Through Slaughter. Quill & Quire, Nov. 1976, p. 32.
The book "reflects, through its language and structure, the qualities of Bolden's performances--sometimes slow, sometimes urgent, punctuated by solos, spontaneous intrusions, off-beat rhythm and free-flow thematic modulations." It is a novel that "works even if we ignore the extensive metaphorical framework." Ondaatje "explores, in a manner virtually unknown to Canadian writing, the primacy of textual language as a viable subject in itself."
D45 Adachi, Ken. "Legendary Jazzman's Slide to Madness an Intriguing Collage." The Toronto Star, 20 Nov. 1976, p. F9.
Jazz is "secondary, if not incidental," in this "remarkable piece of writing." "Ostensibly a novel, Coming Through Slaughter is a documentary recreation of Bolden's life, expressed through a collage of fragmented memoirs.... The result is an often brilliantly wrought, cinematic series of short scenes, jagged, dislocated and seemingly spontaneous, that also approximate the quality of the music.... Small pieces of violence and horror break in one after another and then are punctuated by flashes of lazy humor." Ondaatje's purpose is "to explore the creative process." The "purple" passages are "rare in the book." "Ondaatje is capable of creating and sustaining a tense and macabre work, of manipulating and recreating a legendary figure."
D46 Solecki, Sam. "Dementia Praecox, Paranoid Type." The Canadian Forum, Dec.-Jan. 1976-77, pp. 46-47.
This "is ultimately a novel about the very nature of the creative process, Ondaatje's as well as Bolden's.... Working from a minimal substructure of fact . . . Ondaatje has recreated" Bolden's life. Bolden's "loud, spontaneous music is a perfect mirror of his mode of being: and "similar to the ideal poetry Ondaatje once described" in "'The gate in his head'": "...it communicates...'chaos' and 'the sense of shift' underlying reality." Solecki notes the "finely paced climactic scene" in which Bolden "is provoked by a woman dancing in perfect rhythm to his music." Bolden's "silence/ madness" provides him with "perfect contentment now that the tension within him between the desires for privacy and publicity have finally been resolved." Ondaatje's "sensitive exploration of how the tensions within an artist can only be resolved by being transmuted into art (Coming Through Slaughter) or madness (Buddy Bolden)" is "remarkable." Ondaatje's identification with Bolden emphasizes Ondaatje's admiration for "the artist who has gone too far in his search for a perfect art.... If Coming Through Slaughter is not 'a morality tale...' it is a terrifying parable about the relationship between the artist, his art and his audience."
D47 Bishop, E. L. Rev. of Coming Through Slaughter. Quarry, 26, No. 1 (Winter 1977), 149.
Bishop finds that "the power here is more sustained and its sources less obvious than in Billy the Kid.... The discrete chunks of information, monologue, and narrative are linked by a theme, an emotion, something as slender as a gesture; while the urgency of the prose carries the reader, substituting energy for chrological sequence."
D48 Stevens, Peter. "Coming Through Slaughter into the Murk." The Windsor Star, 15 Jan. 1977, p. 45.
"Essentially the book remains murky;...the picture of Bolden's art is not established clearly enough. His obsession with sound is stated but not sufficiently developed to explain his being driven to madness by his search.... Ondaatje is very off-hand about other things: . . . quotations from hospital records [and] . . . remarks culled from types of interviews with old-time jazzmen...[are] not assimilate[d]...within his main narrative....[It is a] curiously unbalanced ill-defined book." His method is "reminiscent of that used by E. L. Doctorow in Ragtime but Doctorow's revision of history keeps a firm grip on the reality of his contextual world.... There is disequilibrium between the realism and his free-wheeling invention" making it "an awkward mixture that neither defines the characters by poetic association nor explains their motivations within their social or artistic settings, leaving the reader uncertain in his responses to this account of Buddy Bolden, jazz, and the artistic process."
D49 Bartlett, Brian. "New Ondaatje Hero Shares Outcast Label." The Gazette [Montreal], 29 Jan. 1977, p. 42.
"Passages are admirable, but finally they tell us little about the gritty details of the relationship [between characters]. We need to hear more of those essential conversations themselves."
D50 Gilday, Katherine. "Anger in the Arctic, Scandal in Ottawa, and Madness in New Orleans." Rev. of Arctic, by Finn Schultz-Lorentzen; The Power Brokers, by Thomas Van Dusen; and Coming Through Slaughter, by Michael Ondaatje. Books in Canada, Feb. 1977, pp. 29-30.
Ondaatje's research "has been digested until it is part of a whole new fictional world." Coming Through Slaughter may be similar "in rhythm and theme" to The Collected Works of Billy the Kid: Left Handed Poems, "but it is more human." Ondaatje "returns to some of his favourite themes, the aesthetic of risk, the beauty at the edges of violence, obsessive and destructive friendships." However, he adds "sexual jealousy" and "a coherence of story and an emotional quality that, while no less raw, is less concerned with the exhibition of brilliant conceits.... The vignettes are precise and memorable, yet all aimed at the anguished brain of Bolden. The book combines the precision of Raymond Chandler with the intensity of a suicide note. Marvellous."
D51 Kertzer, Jon. Rev. of Coming Through Slaughter. The Fiddlehead, No. 113 (Spring 1977), pp. 126-29.
Kertzer discusses the "blending of history and fantasy" to explore the "inner life of his subject." This "portrait of the artist" also expresses Ondaatje's role as "an artist confronting intriguing but intractable material . . . which he must organize, interpret, and bring to life.... Bolden's own art . . . [is] violent, erratic, charged with an emotion it can hardly control." Yet he "is tormented by order" and "'certainty'"--a "condition he associates with death...." His embrace of "the vitality of chaos" kills him. The theme and style of "conversational tone,...juxtaposition of the coarse of the lyrical,...playfully grotesque imagery..., and...paradoxical union of sex, pain, art, madness and death" are familiar to readers of Ondaatje's poetry. He is "drawn to heroic victims." His "technique is flexible and eclectic"-- his fragments are "never entirely chaotic" as they are organized "by continual reference and cross-reference, by repetition and analogy, by recurring images..., and by timeshifts...." However, the sonographs are not "intriguing" and some sections "seem too remote or too contrived, understated or over-dramatic." As a result, Bolden remains "remote."
D52 Broyard, Anatole. "New Woman, Old Jazz, Hemingway." Rev. of An American Romance, by John Casey; Coming Through Slaughter, by Michael Ondaatje; and By Force of Will: The Life and Art of Ernest Hemingway, by Scott Donaldson. The New York Times Book Review, 24 April 1977, p. 14. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit, Gale, 1980, 410.
Coming Through Slaughter inflates the character to "a man of mystic intuitions"; his fingers are "on the cosmic pulse." The book "jumbles actual history, interviews with old jazzmen, snatches of local color, fictional reconstruction, three 'sonographs' of dolphin sounds, primitive poetry and pretentious writing." Bolden's insanity is "romanticized." None of the voices are "satisfactory" as "Too many sentences float between clich and bombast." Ondaatje's portrayal of "the mattress whores of New Orleans is properly appalling.... The author gives us all the broken pieces and leaves it to us to infer the final form."
D53 Surette, Leon. Rev. of Coming Through Slaughter. Canadian Fiction Magazine, Nos. 24-25 (Spring-Summer 1977), pp. 165-67.
Coming Through Slaughter is a "documentary fiction" that maintains a "distanced and analytic view of Bolden's tortured mind." Since his historical details are scant, Ondaatje has freedom to invent. The section with Webb "draws lightly on detective fiction.... Marvellously embroidered with the blood and mire of Storyville as Coming Through Slaughter is, it remains essentially a study of the imagination's helpless confrontation of things as they are." Bolden "fears and loaths the clarity of the known...." Ondaatje "insists upon the necessity for the artist's devotion to contingency, but does not permit us to evade the pathetic consequences of such a devotion.... The novel is vivid and arresting with that peculiar mixture of lucidity and obliquity that makes Ondaatje so fascinating.... Bolden is made to write letters and reflect in prose [rather than in poetry]--making him appear less volatile and more reflective than his story would suggest he is. It is inherently more difficult to capture in words the imagination of a musician than that of a murder like Billy the Kid. Ondaatje's oblique approach to Bolden's mind is as resonant as it is ingenious."
D54 Bilan, R. P. "Letters in Canada: 1976. Fiction: II." University of Toronto Quarterly, 46 (Summer 1977), 350, 356-58.
Through Bolden, another legendary and historical figure, Ondaatje "explores the fate of the artist who explores his art to the limit, through madness into silence." He uses a "cinematic narrative technique.... Ondaatje's ability to continually present the immediacy of experience with such striking effect gives this novel its impressive achievement.... Some of the emotional effects are achieved by abrupt cuts into highly charged, often violent, scenes, and certainly the moments when we suddenly enter into Buddy's consciousness, or see his responses, are among the most powerful in the book. And with Ondaatje's poetic ability to present scenes and visual images that are sharply and distinctly seen, the novel repeatedly achieves this marked intensity." Bilan discusses points at which "Ondaatje's handling of the narrative aspect of the novel . . . is not entirely successful," including the "muted ending," although Ondaatje's identification with Bolden and his appearance in the last part of the novel is a "most striking aspect.... Nonetheless, while Buddy Bolden may have retreated into silence, Michael Ondaatje, by writing Coming Through Slaughter, had [sic] made his strongest bid for a prominent place in what he calls the '20th century game of fame.'"
D55 MacSkimming, Roy. "The Good Jazz." Canadian Literature, No. 73 (Summer 1977), pp. 92-94.
Coming Through Slaughter "represents an imaginative feat of a high order: a transcending of cultural and racial and historical barriers into a state of nearly total identification, on both the author's and the reader's part, with the subject." Bolden's life "comes very close to the romanticized image of the dissolute artist, but Ondaatje isn't interested in that cliche. He wants to burrow under it and chart the subterranean rivers...." The "structurally unconventional novel acquires a detective-story suspense in the course of Webb's investigation.... The texture of the book itself has that fertile, driving, improvisational quality, rich with its own pleasure in language and human complexity. Its considerable drama is marred only when the author shows himself too self-conscious about literary architecture.... But it is undoubtedly Ondaatje's experience as a poet which has liberated him from the tired conventions of the novel and helped him to produce a fictional work of such uncompromising existential power."
D56 Marcus, Greil. "Undercover." Rolling Stone, 14 July 1977, p. 72.
"An extremely ambitious, unpretentious novel" in which the shifting of voices is weak, "the pace is too even, the highs too moderate, the tone too muted," for Ondaatje "cannot go all the way with the rage and delight that are at the heart of Bolden's story as he tells it."
D57 Mills, John. "Recent Fiction: Campmanship, Jazzman, Boyhood." Rev. of Report on the Death of Rosenkavalier, by Jan Drabek; Coming Through Slaughter, by Michael Ondaatje; and Who Has Seen the Wind, by W. O. Mitchell. Queen's Quarterly, 84 (Autumn 1977), 436-37.
Ondaatje mentions a few known theories as to why Bolden went mad, but he also "develops one of his own," which Mills discusses in terms of the Dionysian "chaos of raw and intense experience and the Apollonian drive to create order and form out of that chaos.... Bolden is almost totally a Dionysian." His "own Apollonian component is externalized in the form of...Webb." But Webb is "also a legend maker, something of an artist himself, and thus to a mild extent he guys Ondaatje's own function as a novelist." Webb's anachronistic allusion to Isadora Duncan's death "is typical of Ondaatje's eclectic method." Mills notes a few of the scenes of "violence, blood, razors, knives, and multilation" which are "brilliantly written and utterly terrifying." Ondaatje's "identification with Bolden . . . energizes the novel and lifts it on a higher plane of the imagination than that reached by fashionable fiction-mongering in historical events.... Coming Through Slaughter is a fine novel...; it is not the work of a gimmicist, and it is likely to become, I predict, a minor classic."
D58 Hancock, Geoff. Rev. of Coming Through Slaughter. The Malahat Review, No. 44 (Oct. 1977), pp. 140-42.
Bolden "becomes a metaphor for all artists who take risks in mastering their art.... Ondaatje subtly arranges and orchestrates his prose. What seem to be fragments --realistic observations, lyrical passages, snippets of interviews, Bolden's own tormented mind -- are carefully mingled (one might even say composed) around the known facts of Buddy Bolden's life." His "prose is detailed and exact, and at its finest, achieves the rhythm of good jazz. Each vignette, like a musical phrase, is intense and biting, unpredictable but appropriate.... Ondaatje sustains the narrative pace by drawing lightly on detective fiction...." Windows, glass, and mirrors "become unifying images reflecting the artist relentlessly at work, trying to reach beyond existing frames, perhaps on the edge of unknown dimensions, but afraid to go through because the windows have 'teeth' in them." The turning inward at the end "is a slight shortcoming. The character of Bolden becomes diminished and remains an enigma by what appears to be authorial intrusion."
D59 Marshall, Tom. "A Paradoxical Fable." Ontario Review, No. 7 (Fall-Winter 1977-78), pp. 104-06. Rpt. (revised, expanded--"Deeper Darkness, after Choreography") in Harsh and Lovely Land: The Major Poets and the Making of a Canadian Tradition. By Tom Marshall. Vancouver: Univ. of British Columbia Press, 1979, pp. 147-79.
Posing the question of whether it is "really necessary for an artist to pursue (as opposed to perceiving or experiencing without succumbing to) a void or chaos to this morbid and suicidal extent," Marshall sees one of the paradoxes of the novel that Ondaatje "does begin to explore a social world of complex human relationships at the same time as he pursues his obsessive interest in the man beyond 'social fuel.'"
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
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Record: 383- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Dainty monsters
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- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
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- Bibliography
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- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: DAINTY monsters (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
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Source: Part 2: Works On Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 152-202
Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Dainty monsters
Brady, Judith (compiler)
D1 Barbour, Douglas. "Controlling the Jungle." Canadian Literature, No. 36 (Spring 1968), pp. 86-88. Rpt. (excerpt) in Contemporary Literary Critism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 407-08.
"A beautiful book" in which a "firm rhythmic control" is exercised "over his language." "Imagery is obsessively natural," with "a clear imaginative understanding of violence" which "never overwhelms the poet."
D2 Thompson, Kent. Rev. of The Dainty Monsters. The Fiddlehead, No. 75 (Spring 1968), pp. 67-68.
The poems in the collection illustrate his "ability to catch in shifting, interpenetrating images, the place of man in the beautiful and horrifying universe."
D3 Gustafson, Ralph. "Canadian Poetry." Rev. of The Dainty Monsters, by Michael Ondaatje; As Is, by Raymond Souster; Selected Poems of George Woodcock, by George Woodcock; and Cry Ararat! Poems New and Selected, by P. K. Page. Queen's Quarterly, 75 (Summer 1968), 372.
"If this twenty-five-year-old author maintains his dedication and keeps his head, Canada will have gained a first-rate poet." He is "already one of the most accomplished of the 'new wave' poets." He demonstrates a "sheer love of language and verbal manipulations" as he "moves through his world, animal, vegetable, and kingdom, with craft and vital imagery.... He is on a mythopoeic voyage. And his monsters aren't dainty.... His Troy stories are dealt with present passion. And he has that rarest of all elements...: comic perspective and rescuing wit."
D4 MacCallum, Hugh. "Letters in Canada: 1967. Poetry." University of Toronto Quarterly, 37 (July 1968), 375.
Ondaatje's style is "abrupt, nervous, angular. Openings are sudden, action occurs by a kind of shorthand, and images are hard and selfcontained." The poems have a "charged atmosphere" which "suits" the "mythic and primitive" subjects. "Ondaatje writes about animals and birds as if intent on creating a modern bestiary or seeking to reproduce in words an effect similar to that achieved by primitivist painters.... The weakest poems in the volume are the most personal; the touch is surest when the narrator is neutral, or . . . [in] the persona of a legendary or historical figure.... A recurrent motif is the contrast between the graceful and the grotesque...."
D5 Montagnes, Ann. "Books in Review: Seven Canadian Poets of Varying Style and Talent Offer a Non-Transistorized Service to Piece Together Our Fragmented Times." Saturday Night, July 1968, pp. 27, 28.
Ondaatje's "beasts are real, frightening and funny, emblematic not anthropomorphic.... Only rarely...do images link to suggest statement." Ondaatje "is not superficial," and his mythology may "develop into a recognizable counterpoint to the times."
D6 Kahn, Sy. Rev. of The Dainty Monsters. Far Point, 1 (Fall-Winter 1968), 70-76.
The title "informs us to be prepared to encounter paradox that is at once ominous, delicate and exotic." This "work makes manifest what may tantalizingly flit at the borders of consciousness, fleetingly appear in the lower regions of memory--here caught and held so we may suddenly see in hard images what have been haunting shadows." "In this volume Ondaatje's hard-edged images and his precise diction and detail make visible the myths and symbols that haunt and mystify."
D7 Scott, Peter Dale. "A Canadian Chronicle." Poetry [Chicago], 115 (Feb. 1970), 362-64.
Ondaatje is "a stylist who deals with fanciful horror at arm's length...with his sharp eye only half-averted.... For better or for worse, he is cosmopolitan . . . [and] even if he lacks a local idiom to struggle with and refine, [his] achievement is one I have reluctantly to admire."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
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Record: 384- Title:
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- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
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- Author(s):
- Brady, Judith (compiler)
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- Bibliography
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- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: ELIMINATION dance (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Elimination Dance
Brady, Judith (compiler)
D27 Whiteman, Bruce. "Beautiful Losers?". Essays on Canadian Writing, No. 12 (Fall 1978), pp. 48-50.
"Ondaatje has the joke on us . . . for with the last elimination ('Anyone with pain'), we're all cast out." But "...if we admit an element of play, in combination with a not overly concealed mockery of that controlling factor that might best be labelled 'society,' we are undoubtedly close to the real target that Ondaatje had in mind."
D28 Barbour, Douglas. Rev. of Elimination Dance. West Coast Review [Simon Fraser Univ.], 14, No. 3 (Jan. 1980), 54.
This work is "not really poetry, but it's sure not regular prose" and "...it manages, like so much else Ondaatje writes, to put a hook in you at some serious level as well." The book is "based on those awful dances they used to have at high school proms in the fifties and sixties," but "Ondaatje's eliminations are subtler...." This is a "delightful and utterly subversive little pamphlet."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
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Record: 385- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Leonard Cohen
- Other Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
- Record Type:
- Reference Series
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: LEONARD Cohen (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Leonard Cohen
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D76 Stedmond, John. Rev. of Leonard Cohen, by Michael Ondaatje; Mordecai Richler, by George Woodcock; Stephen Leacock, by Robertson Davies; and Hugh MacLennan, by Alec Lucas. The Canadian Forum, Sept. 1970, p. 223.
Ondaatje's is "a very personal statement," which finds it hard to avoid the "public personality" of Cohen "since Cohen as persona so permeates the books." Stedmond feels that Ondaatje is more "at home" with the novels and that he "is in the process of discovering his critical principles...exploring his own ways of creating and judging."
D77 Barbour, Douglas. "Critical Limitations." Rev. of The Novels of Hugh MacLennan, by Robert H. Cockburn; Stephen Leacock, by Robertson Davies; Hugh MacLennan, by Alec Lucas; and Leonard Cohen, by Michael Ondaatje. Canadian Literature, No. 49 (Summer 1971), p. 77.
In a review of some of the works in the Canadian Writers Series, Barbour finds this "little book is full of exciting critical insights."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
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Record: 386- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Personal Fictions: Stories by Munro, Wiebe, Thomas, & Blaise
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- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
- Record Type:
- Reference Series
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: PERSONAL fictions: Stories by Munro, Wiebe, Thomas, & Blaise (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Source: Part 2: Works On Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 152-202
Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Personal Fictions: Stories by Munro, Wiebe, Thomas, & Blaise
Brady, Judith (compiler)
D79 Brady, Elizabeth. Rev. of Personal Fictions. Canadian Book Review Annual: 1977. Ed. Dean Tudor, Nancy Tudor, and Linda Biesenthal. Toronto: PMA, 1978, pp. 127-28.
This collection gives "an intriguing and provocative sense of the diverse fictional worlds which each of these writers is creating, and a firm indication of the scope of its contributors."
D80 McNamara, Eugene. "Gathering for Gathering's Sake." Rev. of Personal Fictions: Stories by Munro, Wiebe, Thomas & Blaise, ed. Michael Ondaatje; and Here and Now, ed. Clark Blaise and John Metcalf. Books in Canada, March 1978, pp. 31-32.
"There is no preface to Ondaatje's collection." His "choices are mostly sound. But again, what is the excuse for this book?" McNamara notes that all the stories were previously published in anthologies and are "probably still in print.... Two men and two women? But the men are as different from each other as the women are alike.... Finally, one is left with the feeling of one thematic thread running through many of the stories (with the exception of Wiebe's)."
D81 Spettigue, D. O. Rev. of Personal Fictions: Stories by Munro, Wiebe, Thomas, & Blaise. Queen's Quarterly, 85 (Autumn 1978), 517.
"Personal Fictions is a...useful kind of collection because it represents only four authors or five stories each. It is a formidable collection, one that is a double sense you can't put down." Spettigue praises the individual authors included.
D82 Minni, C. D. "The Long and...the Short of It." Canadian Author & Bookman, 54, No. 1 (Oct. 1978), 29-30.
"As an in-depth look at four talented Canadian writers exploring the many possibilities of the short story, Personal Fictions is worth a careful reading." Minni discusses each author's contribution and style.
D83 Ross, Catherine. "Mystery & Manner." Rev. of 77: Best Canadian Stories, ed. Joan Harcourt and John Metcalf; Stories from Alberta, ed. David Carpenter; and Personal Fictions: Stories by Munro, Wiebe, Thomas, & Blaise, ed. Michael Ondaatje. Canadian Literature, No. 82 (Autumn 1979), pp. 88-89.
Ondaatje judiciously selects his authors: "two women two native Canadians..., and two new Canadians . . . ; two writers who have found a consistent narrative voice and point of view...; and two who dramatize the different voices and ways of seeing a wider range of character types. Some of the stories...are well known; others... have just been published recently." The geographical locations of the stories are all different. Ondaatje's collection is "the most consistently satisfying . . . [and the] quality is higher because Ondaatje is not constrained within the strict, though legitimate, limits that govern the selections of the other editors." The writer's comments focus "attention on the kinds of worlds created in these personal fictions . . . [and] suggest some of the preoccupations common to writers in all three volumes."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
Item Number: ABCMA06MOP2000006003004011
Record: 387- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Rat Jelly
- Other Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: RAT jelly (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP2
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Source: Part 2: Works On Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 152-202
Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Rat Jelly
Brady, Judith (compiler)
D21 Geddes, Gary. "Astonishing, Blurred Visions into His Fathomless Vault." The Globe and Mail [Toronto], 21 April 1973, p. 23.
The work is "an astonishing book" which "improves after several readings." The "poems aim at mystery rather than explicitness," as the poet sees "the mind [as] a vault that contains the forms of animals, of previous states of existence."
D22 Almon, Bert. "A Bitter Aspic." Books in Canada, April-May-June 1973, p. 17.
The reviewer finds that "Repeated images become merely repetitive,...some images (wounded or dead birds and animals especially) and illusions (the paintings of Henri Rousseau) [are] too familiar." This critic is "suspicious of bloodshed and maimed animals as literary devices," and finds there are "too many ingredients in the aspic." He concludes that "there are strong poems in the collection," citing in particular "The White Dwarfs" which he feels "asks the hardest questions."
D23 Barrie, B. D. Rev. of Rat Jelly. The Fiddlehead, No. 98 (Summer 1973), pp. 119-20.
"One cannot help but link Ondaatje with the sneaky servant on the cover of the book...." His "awareness of the emotional and historical distance from friends, families and other artists and the tenuous nature of that distance is not so much negative as coldly realistic and balanced by one of Ondaatje's strongest poetic gifts: his ability to piece and fix the poignant moment, the symbolic pattern." In the second section "tender moments" are counterpointed "with the belief that mankind lures death through human predispositions..." and "...conventional trimmings cannot render the truth more palatable." Ondaatje's "mythology and artistry" grow from the "belief that nobility belongs to the animal and the recognized animal nature in man." Ondaatje, ironically, "is the romantic outsider attempting to slow reality down so it can be perceived in all its ugliness and glory. His poetic strength lies in his belief that the artist must bear witness to the flash of the present as it becomes the future."
D24 Stevens, Peter. Rev. of Rat Jelly, by Michael Ondaatje; and Waiting for Wayman, by Tom Wayman. Queen's Quarterly, 80 (Winter 1973), 656-57.
The central concerns of the book are "small human schemes and vast universal movements,... the continuous process of living within the framework of death, the ambivalence of the mind," as well as "man's mad violence, the poet trusting in a few friends, loving / hating art . . . , rejecting systems of the mind for the immediacy of instinctual life." "Rat Jelly's three sections move from domestic emphasis to more objective mediations but the divisions" maintain "essential themes." The first section contains "bizzare humour." "The book moves to a resolution, both feared and yet accepted, in the silence between words.... One or two poems of catalogued detail seem too haphazard, and one poem . . . is marred by some offhand colloquial language. But these few lapses hardly disturb the powerful effect of this strangely compelling book, this dazzling display."
D25 Scobie, Stephen. Rev. of Rat Jelly. World Literature Written in English, 13 (Nov. 1974), 279-82.
"The poems are carefully organized in thematic groups, and revisions have tightened up the imagery, producing numerous cross-references." Part One contains "a series of marvellously comic poems" and "a deeply felt elegy/tribute for the poet's father." Part Two focuses on "the violence and savagery of the world at large, seen, as is usual in Ondaatje, mainly in terms of animal images. Part Three . . . examines the role of the artist." The book "emerges out of the muteness of loathing, and ends in 'the perfect whiteness between the words,' the silence of stars gone nova.... The clarity is less important than the movement towards it." What "is most admirable in Ondaatje's poetry is this clarity, his mastery of tone, nuance, and rhythm." He "is able to shift almost effortlessly...between a variety of different moods."
D26 Young, A. Rev. of Rat Jelly. The Times Literary Supplement [London], 30 May 1980, p. 620.
This brief review cites "Elizabeth" and "Peter" as "brilliant virtuoso lyric narratives full of dark energy." However, "...the more humane, tender, compassionate and sometimes very funny poems written in the 1970s are a fine attainment."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
Item Number: ABCMA06MOP2000006003004004
Record: 388- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Running in the Family
- Other Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: RUNNING in the family (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP2
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Source: Part 2: Works On Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 152-202
Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; Running in the Family
Brady, Judith (compiler)
D60 Abley, Mark. "The Past Is Another Country." Maclean's, Oct. 1982, p. 66.
Abley traces some biographical details, outlines some of the content, and notes, "Ondaatje is an excellent raconteur, fond of spinning yarns, and his Ceylon suggests a cross between the Corfu of Gerald Durrell's childhood and the Columbia where Gabrielle Garcia Marquez grew up. Ondaatje lingers with relish on the incongruous details that take root in the imagination...." He "has the rare gift of recreating in language a variety of smells. His words are as sensuous as mangoes.... Although the past created him, he belongs on different soil. This tension runs throughout the book and provides much of its energy." Running in the Family "is an act of homage, frustration and love."
D61 Mukherjee, Bharati. "Ondaatje's Sri Lanka Is Prospero's Isle." Quill & Quire, Oct. 1982, p. 30.
"The book is part family saga, part the typical North American roots search, part travel account and part social history, delivered with the conciseness and intensity of poetry.... People . . . and places...are transformed by Ondaatje's mythologizing faculties.... The book isn't flawless. Some readers may find the beginning too slow; too many minor heroes are immortalized." Yet the work is "extraordinary, and may help...destroy the myth that the Canadian imagination is the sole property of liberated Ontario W.A.S.P.s and lacerated Quebec Catholics."
D62 Adachi, Ken. "A Memoir Illuminated by Imagination." The Toronto Star, 9 Oct. 1982, p. F10.
Running in the Family is "no ordinary, chronological memoir; it is invested with all the qualities of a poet's and novelist's mind and eye. It dazzles with its range of imagination, richness of language and the consistently involving changes of mood and tempo," in this "story of his father, the true subject, the heart, of the book."
D63 French, William. "A Portrait or a Gesture, Michael Ondaatje's Discovery of His Family Roots Is a Remarkable Work." The Globe and Mail [Toronto], 9 Oct. 1982, p. 15.
The book "clearly isn't a memoir in the conventional sense, for we learn very little about the author." It is "not a history of his native Ceylon,...isn't family history in the usual sense," but he "has produced a remarkable work." Running in the Family is "an impressionistic, sometimes surreal portrait of an exotic time and place now gone, a colonial paradise that had its own rhythms and imperatives."
D64 Eder, Richard. "Triumph of Blurred Memory." The Vancouver Sun, 15 Oct. 1982, Sec. Insight, p. L25.
"In a way, Ondaatje's quest is a failure. No real theme comes back and even the memories are blurred or embroidered, as with the driftwood Lalla, no doubt...." But, his "consciously blurred memory is the artistic triumph of this splendid book."
D65 Hayward, Judith. "Amazing Autobiography." Winnipeg Free Press, 23 Oct. 1982, p. 48.
Hayward praises "his measured, graceful prose...always musical and often the language carries such a weight of insight and emotion that it can only be called poetry...." It is saved "from being a lovely bit of erotica" for "beneath the humor and novelty lies Mr. Ondaatje's very real search, and the pressing question of identity and relation."
D66 Morley, Patricia. "Autobiography Brings Ceylon to Life." The Citizen [Ottawa], 23 Oct. 1982, p. 39.
"Ondaatje family history suggests that the writer comes honestly by his lyricism and his taste for violence and for the unexpected.... Throughout the autobiography, dream, rumor, and hard-edged reality form slightly surreal and often funny kaleidoscopes," which are "episodic" and "visual," "like shots from a film." The book "is an effective cross between poetry, fiction and history."
D67 Cullen, Michael. "Ondaatje Climbs Family Pyramid." The Calgary Herald, 30 Oct. 1982, p. J4.
This is a "chronicle of that process" of rediscovery, "a well-worked theme . . . handled magically by Gabriel Garcia Marquez . . . and thoroughly by Alex Haley in Roots." Ondaatje "seems to be hinting that the book is less about his father and his relations than about his own involvement (or detachment) within the heritage and history of his family . . . and it's a delight."
D68 Vasey, Paul. "An Era Recaptured." The Windsor Star, 6 Nov. 1982, p. C9.
Vasey outlines some of the stories in the book and notes that "Here, as in Fitzgerald's work, there is an underlying sadness.... In . . . [the] solitary room of the mind, Ondaatje focuses on the one character who haunts him most: His father." Ondaatje captures "the spirit of these lives."
D69 Draper, Gary. "Stranger Than Fiction." Books in Canada, Dec. 1982, pp. 19-20.
Ondaatje's identification with the narrator of Running in the Family "appears to be more direct" than in his previous narrative works, but "the characters keep outgrowing the confines of fact." He "is continually slipping through the net of categories: documentary slides into fantasy, prose into poetry, and history, personal and otherwise, into myth." There is more dark comedy than in previous books. Ondaatje "undercuts the distinction between the book as process and as artifact." The photographs, like the prose, "have the surface of documentary but the presence of magic." As elsewhere "dipsomania plays an important part in this book. There is Ondaatje's astonishing sensitivity to language, the perfectly timed shifts of tense, the transformation of sound into meaning."
D70 Heavisides, Martin. "Ondaatje'e Impressive Verse." Toronto Arts News, Dec. 1982, n. pag.
"History and individual biography blend so thoroughly that by the close...all its major figures have two fully realized characters, a personal and a collective."
D71 Balliett, Whitney. Rev. of Running in the Family. The New Yorker, 27 Dec. 1982, pp. 76-77.
This "is a kind of travel book--eloquent, oblique, witty, full of light and feeling--that keeps spilling over into poetry...into fiction, into slap-stick and high-class adventure." Balliett discusses the content of the book and describes the prose as having "grace and originality."
D72 Sward, Robert. Rev. of Running in the Family. Cross-Canada Writers' Quarterly, 5, No. 1 (1983), 23-24.
This is a "difficult book to read straight through." The language "reads like a formalized version of Ondaatje's conversation." He "evokes images that form a marvellous counterpart to the roaring twenties as they were experienced in North America. Ondaatje's tone, humor and content are so distinctive as to suggest the author of Rat Jelly is a latter-day Sri Lanka Fitzgerald.... This brightly colored, animated family photograph album manages to be intimate without being merely picturesque.... Running in the Family represents a kind of milestone, a turning point, in Michael Ondaatje's career."
D73 O['Brien]., T. P[eter]. Rev. of Running in the Family. RUBICON [McGill Univ.], No. 1 (Spring 1983), pp. 137-38.
Ondaatje "is never very far from the speaker's voice in his books and in Running in the Family we see more of the 'real' Ondaatje than we have ever seen before." O'Brien comments on the merging of prose and poetry, the precise imagery, and "a multitude of facts which become elaborate lies after a few new tellings." The book "is a must."
D74 Beddoes, Julie. "Books with Long Shelf Life." Rev. of Running in the Family, by Michael Ondaatje; and Incognito, by David Young. Flare, 5, No. 4 (May 1983), pp. [59-60].
Ondaatje's "spare, simple, almost adjectiveless style is the perfect medium" for these "exquisitely told stories." Beddoes includes brief biographical information.
D75 Hoy, Helen. "Letters in Canada: 1982. Fiction." University of Toronto Quarterly, 52 (Summer 1983), 330-31.
"The structure...[of Running in the Family] is organic and flexible . . . [and] is not collage; rather it's the scrupulous dissection -anatomization -- of consciousness...." Ondaatje's tone "is a product of his fine comic timing and an essential tough-mindedness. If he never allows the sad to become tragic, he also will not permit the peculiar and often humorous symptoms of distress to mask the pain that underlies them." Ondaatje's "concern with the various reasons" for his family's "dislocation . . . anchors the book's attitudes securely."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
Item Number: ABCMA06MOP2000006003004008
Record: 389- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; The Broken Ark: A Book of Beasts
- Other Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: BROKEN ark: A book of beasts (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP2
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Source: Part 2: Works On Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 152-202
Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; The Broken Ark: A Book of Beasts
Brady, Judith (compiler)
D78 Struthers, Betsy. Rev. of The Broken Ark: A Book of Beasts. Canadian Book Review Annual: 1979. Ed. Dean Tudor, Nancy Tudor, and Kathy Vanderlinden. Toronto: PMA, 1980, p. 128.
The poems "reveal the range of the contemporary scene," and the "poets are chosen from the first rank of the current CanLit crop."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
Item Number: ABCMA06MOP2000006003004010
Record: 390- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; The Collected Works of Billy the Kid: Left Handed Poems
- Other Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: COLLECTED works of Billy the kid: Left handed poems (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP2
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Source: Part 2: Works On Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 152-202
Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; The Collected Works of Billy the Kid: Left Handed Poems
Brady, Judith (compiler)
D10 Cogswell, Fred. Rev. of The Collected Works of Billy the Kid: Left Handed Poems. The Fiddlehead, No. 88 (Winter 1971), pp. 105-06.
Ondaatje "has taken all the paraphernalia of the blood and thunder Western and simply removed the conventions," especially the "herovillain stereotypes," leaving only the "horrifying mishmash of blood and death." The book "is, technically speaking, an excellent book."
D11 Fetherling, Doug. "A New Way to Do It." Saturday Night, Feb. 1971, pp. 29-30.
This "is in no sense a 'collection' of poems but is in fact a book of poetry, a deliberate telling of a tale from this point to that, with all the ups and downs of plot and mood associated with the historical novel." Fetherling writes that The Collected Works of Billy the Kid: Left Handed Poems is "much closer to The Journals of Susanna Moodie, Margaret Atwood's book-length interpretation of the pioneer woman's ruminations, but that it differs greatly in scope, approach, style and execution."
D12 Hoar, Victor. "Outlawed in Bestiary." The Globe Magazine [The Globe and Mail] [Toronto], 13 Feb. 1971, p. 16.
The writing is "profound in its dimensions" and original in conception. Hoar notes that "one might come to view [this work] as a sort of bestiary in which man and nature live in nightmare intimacy."
D13 Sharp, Daryl L. "A Wonderful Book about an Engagingly Evil Man." Commentator [Toronto], March 1971, pp. 13-14.
This is "the most extraordinary book to be published in Canada for many years.... [There is] nothing to match it, in terms of conception and sheer writing skill, since Leonard Cohen's Beautiful Losers."
D14 S[kelton]., R[obin]. Rev. of The Collected Poems of Billy the Kid: Left Handed Poems. The Malahat Review, No. 18 (April 1971), p. 127.
Ondaatje "reveals yet again the intensity and obliquity which is characteristic of his imagination.... What emerges is more disturbing than clear; we are left with a tangle of conflicting impressions: these however are so organized as to give us an extremely real and vivid portrait of a period as well as a man. Ondaatje is to be congratulated on inventing what is almost a new literary medium. It has combined the techniques of documentary with those of popular story-telling and sophisticated poetry...."
D15 Stevens, Peter. Rev. of The Collected Works of Billy the Kid: Left Handed Poems, by Michael Ondaatje; and Moving Outward, by Andy Wainwright. Queen's Quarterly, 78 (Summer 1971), 326-27.
Ondaatje's collage consists "of poems, prose sometimes Hemingwayesque, sometimes Southern Gothic-exotic, quotations from eyewitnesses and photographs.... Billy is framed as in a series of photographs" which are "blurred and browned by the nostalgia of time." Images "of light and shadow recur, figures stand in the frame of black doorways and groups are described as in a pose.... A camera's mechanism freezes its subjects, lifting them in time from reality towards myth. Billy senses beauty within machinery...." Ondaatje directs his moral fervour at the maltreatment of animals, who possess the "only living equivalent to the beauty of machinery." The best prose and poetry pieces both use animals. "It may be this emphasis [on animals] that makes these 'left handed poems'...finally unsatisfying. Certainly the book is framed by human violence..." which is not ambivalent. These "'left handed poems' finally miss the essential [mythological] target."
D16 Davis, Marilyn. Rev. of The Collected Works of Billy the Kid: Left Handed Poems. The Canadian Forum, July-Aug. 1971, pp. 34-35.
Davis elaborates on the theme that "Ondaatje roots his story in documentary material and the art of poetic photography" and discusses the characterization of Billy and Sheriff Garrett who act out "a powerful Bonnie-and-Clyde type story."
D17 Duckles, Richard. "A Quick Draw." Open Letter, Ser. 2, No. 1 (Winter 1971-72), p. 73.
This is "a book to be read two ways. Simply as 'story,'.... Or, face it, you have to draw & to be fast, you've got/to do it slow."
D18 Schroeder, Andreas. "The Poet as Gunman." Canadian Literature, No. 51 (Winter 1972), pp. 80-82. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 408.
The material in The Collected Poems of Billy the Kid: Left Handed Poems is "more carefully crafted, casually understated" than that in Ondaatje's previous books. "Using poems, prose sketches, 'eyewitness' reports, diary-like notations and an ostensible newspaper interview with the Kid, Ondaatje restores to the saga the third dimension it had lost by having become an old tale always told from a single storyteller's point of view." In Ondaatje's "intimate" documentary, "the incidents themselves as well as the minds of the men who provoked them are open to inspection." And, if Billy the Kid becomes "too sensitive to be a believable gunman, well--history must remain the slave of Art." Ondaatje speaks through the "mask" of his characters. Each section tends "to be cumulatively successful as well as individually so." Ondaatje's style is "clean simplicity, the uncluttered, toned-down almost easy precision." Only in five poems "does he let his lyric overdrive run away with him to the detriment of the poem, which becomes not only non-believable in context, but simply bad or mediocre poetry outright."
D19 Roosevelt, Karyl. Rev. of The Collected Works of Billy the Kid: Left Handed Poems. The New York Times Book Review, 17 Nov. 1974, p. 49.
The author "is a poet and even his prose moves with rhythmic circular precision. This is a good little book, carefully crafted and thoroughly literate," but "it is a 'little' book, a portrait in miniature and eventually limited by Billy's own character" for "a true tragedy must concern itself with a hero.... Billy and all the other romanticized murderers emerge as exactly the opposite, as anti-heroes."
D20 Young, Alan. "Particular Horrors." Rev. of The Collected Works of Billy the Kid: Left Handed Poems, by Michael Ondaatje; Practical Magic, by Carl Bode; and Factory, by Antler. The Times Literary Supplement [London], 28 Aug. 1981, p. 988.
This is "a compassionate and convincing portrait not only of a savage individual but of the casually brutal human wilderness in which Billy was both villain and victim." Young notes, in particular, that in the "presentation of Billy as killer-victim and Sheriff Pat Garrett as cold law-and-order assassin . . . Ondaatje creates themes and characters of terrifying mythic energy and substance."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
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Record: 391- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; The Long Poem Anthology
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- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
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- Annotated bibliography of Canada's major authors, no. 6
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- Brady, Judith (compiler)
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- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: LONG poem anthology (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Source: Part 2: Works On Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 152-202
Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; The Long Poem Anthology
Brady, Judith (compiler)
D84 Nadel, Ira. Rev. of The Long Poem Anthology. Review. CBC Radio [Vancouver]. 1979.
Nadel comments on "his impressive and original book...a unique gathering of nine contemporary poets.... The poems reflect the sustained inventiveness of Canadian poets while demonstrating new directions the long poem has taken in the last ten years.... What Michael Ondaatje has accomplished in editing [it] is to permit us to experience the clarity and freedom of the long poem as the poet's experience becomes ours."
D85 Helwig, David. "From Ondaatje to Lee: Words That Live as Poetry." Saturday Night, Nov. 1979, pp. 58-61.
The introductions to each work by individual poets are "almost uniformly pretentious, and the book as a whole has a whiff of self-righteousness rising off its pages, as Coach House books often do." The "turn inward" of these poets "without some clear external focus sometimes lends to selfindulgence." Ondaatje "is doing missionary work for a poetry quite unlike his own." That the "'poets have few dramatic props'" is "an odd form of praise from a poet whose long suit...has been the brilliant selection and deployment of dramatic props."
D86 Struthers, Betsy. Rev. of The Long Poem Anthology. Canadian Book Review Annual: 1979. Ed. Dean Tudor, Nancy Tudor, and Kathy Vanderlinden. Toronto: PMA, 1980, pp. 138-39.
"The nine poems collected here have previously appeared only in small press chapbooks and are, for the most part, not available to the general reader.... Although one could object to a couple of choices, Ondaatje's collection does serve an important function in bringing these poems the attention they deserve." The bibliographies are useful, as are the poet's statements, although they are "somewhat coy."
D87 Fernstron, Ken. Rev. of The Long Poem Anthology. Quill & Quire, March 1980, p. 62.
"A fine job of editing and the list of readings gives the interested reader material for future exploration.... One collection anyone seriously interested in poetry should have."
D88 Colombo, John Robert. "Length and Destiny." The Globe and Mail [Toronto], 8 March 1980, Sec. Entertainment, p. 13.
"A most assured-looking volume of 344 pages with an introduction, nine long poems, statements by the poets, even a bibliography, handsomely designed and well printed by Coach House Press." Colombo notes that "at least four long poems (those by Marlatt, McKay, Blaser, and Davey) strike me as being not long poems at all but suites of short poems linked together by threads of theme or subject.... If you enjoy your poetry written in short bursts, interspersed with passages of prose, lists, bits of dialogue and even illustration (as in Kiyooka's 'The Fountainebleau Dream Machine') The Long Poem Anthology is for you."
D89 Mattson, Kathren. "Length Won't Take Your Breath Away." The Vancouver Sun, 28 March 1980, p. 401.
"What this book needs is an authoritative voice to act as an applause sign, to help the reader understand what is important in the program, and to interrupt the action onstage. But editor Michael Ondaatje painstakingly disavows his own understanding of the long-poem form and explains that his choices on what poems to include were governed by his curiosity.... He insults these poets by suggesting that it is their lack of professional intent which makes their work interesting, a suggestion belied in the Statements by the Poets section. Perhaps [he] would do well to read his own book!"
D90 Geiger, Roy. "Anthology of Samples Whets Appetite for More Long Poems." The London Free Press, 29 March 1980, p. B3.
This anthology "contains samples of the most adventuresome and interesting writing from this country's recent past.... Some sins of anthologizing are unavoidable: For instance, I miss the map that was part of the original Long Sault. Some of the poets' own comments on their own are pretentious, too."
D91 Surette, Leon. "Ondaatje's Long Poem Anthology." Canadian Poetry: Studies, Documents, Reviews, No. 6 (Spring-Summer 1980), pp. 85-88.
For most of the review, Surette discusses the authors included in the anthology. He also comments on Ondaatje. "This is a welcome volume for teachers of Canadian poetry, for...[of the] nine contemporary long poems...most... are not available in the standard teaching anthologies." Surette regrets that The Collected Works of Billy the Kid: Left Handed Poems "is not included" as he views it to be "the finest long work of poetry produced by a contemporary Canadian poet." Also, Surette is disappointed "that the anthology is exclusively contemporary" as its use "as a classroom text" would have been greater "had it included some of the long poems from the Nineteenth Century and the first three quarters of this Century." Nonetheless, it "reflects the marvellous vitality of Canadian poetry in the 'seventies."
D92 Brydon, Diana. "Making the Present Continuous." Canadian Literature, No. 86 (Autumn 1980), pp. 99-100.
"The Long Poem Anthology brings together some of the most challenging of...the 'unofficial' voices of the 1970's . . . [and] makes work which was previously difficult to obtain or inaccessible available to a much wider audience.... Indeed, its very existence may change how we see and talk about Canadian writing." Ondaatje emphasizes the "process" of serial poems. Six of "the nine poets in this volume were members of Tish.... This decision to build the anthology about a fairly unified aesthetics instead of trying to make it representatively Canadian gives the collection a coherence few Canadian anthologies possess.... Similarly, the poets' commentaries reflect on one another" in their common concern with "both space and time" in the long poem. "Given the premises outlines in Ondaatje's Introduction, the selection cannot be faulted. This is a fascinating and valuable anthology." Brydon does, however, question some of Ondaatje's omissions from bpNichol's text and wonders "whether the reference in the section of Further Reading to Galway and Cinnel, The Book of Nightmares, is some kind of a joke or a mistake. But these are minor quibbles about an anthology which is as much a contribution to the writing of Canadian literary history as to the textbook market."
D93 Woodcock, George. "Above and Below the 49th Parallel." The Ontario Review, No. 13 (Fall-Winter 1980-81), pp. 109-11.
"With the exception of Daphne Marlatt's Steveston," the selected poems "are strong in their sense of place but shaky in their view of history. Most of them are in fact sequences of poems rather than narratives, and the disjointed form is evidently regarded as a virtue." Ondaatje, "with a curious modesty," has omitted The Collected Works of Billy the Kid: Left Handed Poems--"one of the best recent long poems written in Canada." Although the selections are taken from "some interesting minor Canadian books of poetry," it is not "contemporary Canadian poetry at its best."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
Item Number: ABCMA06MOP2000006003004012
Record: 392- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; The Man with Seven Toes
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- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
- Record Type:
- Reference Series
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: MAN with seven toes (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP2
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Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; The Man with Seven Toes
Brady, Judith (compiler)
D8 Lane, M. Travis. "Dream as History: The Man with Seven Toes." The Fiddlehead, No. 86 (Aug.-Sept.-Oct. 1970), pp. 158-62.
Ondaatje uses "interior monologues" and "avoids ostensible dream material and the material of the characterized person's associative memory." His "'narrator'-voice is sparingly used ...and appears more as something overheard by the chief character than as something perceiving." Ondaatje focuses "upon the present, unintellectualized perception" of his characters. Ondaatje's poem can be "taken as representing a loss of the conscious self and a descent into the feared subconscious. The woman's own sexual fears (her bad, wild desires) become analogous to all that is uncivilized, hot, wounding, ugly." When "Mrs. X cries out 'god has saved me,'" Potter is "washed away." "We don't know what happens to him; she doesn't care.... She has treated her history as if it were a dream.... The concluding dream-level ballad parallels in city terms the first days of the poem." Lane does not approve of the awkward size of the book.
D9 Doyle, Mike. "Made in Canada?". Poetry [Chicago], 119 (March 1972), 359.
Doyle briefly notes that this is "a small narrative, very physical, economical in line, with a touch of the hallucinatory."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
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Record: 393- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978
- Other Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: THERE'S a trick with a knife I'm learning to do: poems 1963-1978 (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP2
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Source: Part 2: Works On Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 152-202
Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected book reviews; There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978
Brady, Judith (compiler)
D29 Logan, William. Rev. of There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978. Library Journal, 1 April 1979, p. 833. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Artists. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 410.
A short review comparing "the creative mythologizing" of The Collected Works of Billy the Kid: Left Handed Poems to this "rather lusterless, straining even for their whimsical gestures," finding "his prosaic experience . . . implicitly contrasted with the lives of high purpose he is entranced by: Elizabeth I, Darwin, Philoctetes. Since the most affecting poems of his own life are responses to memory, perhaps only the past quickens this poet's imagination."
D30 Heavisides, Martin. "Ondaatje Refines His Fuel." The Varsity [Univ. of Toronto], 4 April 1979, p. 10.
The Dainty Monsters section appears revised for this edition, including the strengths without the weakness of "self-consciously 'lyrical' diction." In Rat Jelly "most of the self-conscious lyricism disappeared, although . . . his gifts for highly original structuring in grammar and syntax were [sometimes] indulged.... The new material in Pig Glass is spare, refined, compacted and tremendously intricate."
D31 Butscher, E. Rev. of There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978. Booklist, 1 May 1979, p. 1341.
This brief review notes that the "images are almost always sharp and original and turn a restless metaphoric light upon the ordinary experiences of life."
D32 Murray, G. E. "Six Poets." The Nation [New York], 19 May 1979, pp. 578, 580. Rpt. (excerpt) in Contemporary, Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 410.
Ondaatje uses "the lyric as a weapon.... [His] landscapes are populated by horrifying figures and events"--"a fashionable trick," but Ondaatje "rises above the usual muck with an aggressively inventive, if sometimes offhanded flourish."
D33 Barbour, Douglas. "All That Poetry Should Be." The Canadian Forum, June-July 1979, pp. 34-35.
Noting the new "gathering" of verse in this collection, Barbour praises the development of Ondaatje's poetic vision and craft in what he calls "a beautiful, major collection of poems," where "events from the ordinary life of the poet . . . charged with the perceptions of mythic thought" bring "the power of myth closer to home.... These are poems which explore the springs of art and the simultaneous existence of self-destructive impulses with the need to create." "We're at the Graveyard" is "central to Ondaatje's work," with the "emerging theme" and its implications--"about community/communication/communion."
D34 Solecki, Sam. "Sharpening His Act." Books in Canada, June-July 1979, p. 11.
Solecki commends this as "a spare taut book that collects the best from The Dainty Monsters and Rat Jelly and adds 19 new poems from the past six years." We "realize how early Ondaatje found his own poetic voice," how "he becomes progressively more self-conscious and more confident," "willing to hazard greater risks with his art and more problematically, with himself." Ondaatje is "freed of this obsessive concern with poems about poetry" and the "ability to make a transition from a loose prosaic style to a tighter, traditionally more poetic one that depends upon metaphor, internal rhyme, assonance," with "the metaphors, though often striking, . . . never forced or dissonant."
D35 Linder, Norma West. "Voices of Character." Rev. of Family Chronicle: Poems and Photographs of the Canadian West, by James M. Moir; Oiseaux, by Jamie Hamilton; There's Trick with a Knife I'm Learning to Do: Poems 1963-1978, by Michael Ondaatje; Winter Flowers, by Janis Rapoport; and The Tough Romance, by Pier Giorgio Di Cicco. Canadian Author & Bookman, 54, No. 4 (Aug. 1979), 31.
Ondaatje's "highly original voice . . . ranges from petal-gentle to scalpel-sharp." Many "old favourites are to be found here,...Ondaatje is never boring; his imagery is fresh, his vision uniquely his own," and his work "stands so well the test of time."
D36 Molesworth, Charles. "Five Poets." Rev. of At the Edge of the Body, by Erica Jong; Brothers, I Loved You All: Poems, 1969-1977, by Hayden Carruth; Skull of Adam, by Stanley Moss; There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978, by Michael Ondaatje; and The Door to the Forest: Poems, by Jon Swan. The New York Times Book Review, 2 Sept. 1979, pp. 8, 14. Rpt. (excerpt) in Contemporary Literary, Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski and Laurie Lanzen Harris. Vol. XIV. Detroit: Gale, 1980, 410.
"This is a poetry filled with odd angles of vision, but it lacks the kind of spectral music it seems to need." Ondaatje "mixes the bizaare and the commonplace," but the "lack of a driving or lilting music and the barren punctuation create a disembodied effect." The poetry "relies on a hushed approach." There is a "yearning for wonder" and "a curiosity that informs the imaginative life of his poetry at its best."
D37 Rev. of There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978. Choice, Oct. 1979, p. 1023.
Some of the poems "will be targets for the anthropologists for many years to come, particularly the travel poems." Ondaatje's work combines "rapid flow, strong imagery, and genuine surprises" and has "a genuine moral stance."
D38 McNally, Paul. Rev. of There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978. Queen's Quarterly, 86 (Winter 1979-80), 720-21.
The collection "contains little new work." Yet "a quiet evolution may be traced through the collection. The occasions of the poems become more ordinary, and because of that, the treatment seems increasingly extraordinary." McNally discusses the importance of one revision and a shift in place from the original place in Rat Jelly to the "Dainty Monsters" section. The revision "emphasizes what has always been Ondaatje's forte, the swift precise casting of gerunds and verbs." The shift in sections "implies that the poem belongs to an earlier stage of development." The earlier works "lack the ambiguous complexity which is the unsettling characteristic of the long works. More ambiguity, more wry bemusement, and less tendentiousness are the indicators of Ondaatje's growth." He "has been trying, with frequent success, to bring the anecdotes and musing forth from their matrices.... He is ever more at ease with the complexities of life, but no less in search of them."
D39 Struthers, Betsy. Rev. of There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978. Canadian Book Review Annual: 1979. Ed. Dean Tudor, Nancy Tudor, and Kathy Vanderlinden. Toronto: PMA, 1980, p. 143.
Ondaatje "combines the pick of two earlier volumes . . . with new poems." He is "obsessed with the relationship and interdependence of the worlds of man and nature.... From the earliest poems, Ondaatje maintains this consistent voice whose coloquial tone packs such recurring images with powerful resonance. He speaks of love both with humour . . . and with fear.... The poet overcomes time with his words." The poems "pierce to the heart of what matters in our common life."
D40 Archer, Anne. Rev. of There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978. Quarry, 29, No. 1 (Winter 1980), 77-79.
Ondaatje's verse "is violent, crude, strong. Like punk rock with its colourful choreographed horror, his poetry seems designed to repulse--in a wordly fashion.... It may be wit; it may be a bizaare sense of humour." Or it "may represent an attempt . . . to shock us into acknowledging our blood impulses, our propensity toward violence .... Ondaatje's vision is, nevertheless, doublesided...and this ambivalence is Blakean in many ways." Archer discusses this in relation to the "war of reason versus passion." The "impulses of violence and beauty transcend their semantic confines, and join to form a singular, compelling entity." Archer also refers to Henri Rousseau's influence on Ondaatje. "The victor and the vanquished are one.... It appears that we are, indeed, part of a brutal paradox. In part a manifestation of creative energy, and in part a component in the dialectic of beauty, violence is requisite" to this book. "Initially repulsed by his blood imagery . . . I am now impressed by the vastness and dynamism of his vision.... His cuts are cleanly, neatly executed. Ondaatje possesses a gift for defining precisely a vague stirring feeling." His work demands close reading.
D41 Stephen, Sid. "The Point of Truth." CV/II, 4, No. 4 (Spring 1980), 16-17.
The book as a whole is a "dense, rich and above all intelligent presentation of things as they are." Ondaatje's trick is "to make of the ordinary something extra-ordinary," or to point out that "under the surface...there exists another surface that is unique, essential, and sometimes terrifying to look at." "There is a toughness ["that has nothing to do with power or dominance," but] that has everything to do with sensitivity and compassion." The last section of the book "combines all the strong points of his very early work with the best features of the Rat Jelly verses, and lands right on target." "The Billy the Kid poems [are not included and] just don't fit in here ...." In Ondaatje's poetry, "things static seem to take on movement and change...."
D42 Prato, Ed. "A Net Full of Ondaatje." Canadian Literature, No. 87 (Winter 1980), pp. 103-05.
Prato sees the poet as "still looking for a magically charged world." His earliest poems "have a dictum that is formalized, literary, or British," while the new section is an "acknowledgement that a writer who partakes of motion cannot 'freeze' a scene for the universal literary museum."
D43 Scobie, Stephen. Rev. of There's a Trick with a Knife I'm Learning to Do: Poems 1963-1978. The Fiddlehead, No. 129 (Spring 1981), pp. 100-02.
Scobie discusses Ondaatje's ability to locate the bizarre for his book covers and epigraphs. "Ondaatje forms 'violent beauty.'" His "first temptation is silence: the silence of exclusion..., the silence of spiders..., the silence of animals stopped short of speech" and many other silences. But in "Letters & Other Worlds" "...a man moves out of silence...and finds something which is not loathing." Ondaatje "catches the moments when the 'new equilibrium' holds.... Always moving 'to' the clear, never quite arriving.... Or, if necessary, moving away from the clear, falling...." Metaphor is Ondaatje's "method of photography," or of suspending time. "Letters & Other Worlds" was "the first of the major poems about his family," which continues through "Light," Claude Glass, and Running in the Family. "These works confront directly the theme of the search-for-the-father.... The psychological vulnerability of the poems would be almost embarrassing--if it were not for Ondaatje's deviousness...."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
Item Number: ABCMA06MOP2000006003004006
Record: 394- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected film and play reviews; Billy the Kid (Play)
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- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
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- Bibliography
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- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: BILLY the kid (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
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Source: Part 2: Works On Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 152-202
Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected film and play reviews; Billy the Kid (Play)
Brady, Judith (compiler)
D95 Campau, DuBarry. "Simple Reading for Exciting Poem." The Telegram [Toronto], 24 April 1971, p. 34.
Campau praises the St. Lawrence theatre cast directed by Martin Kinch. The play was "Done as simply as possible . . . ; they gave the text an exciting and thoroughly theatrical reading."
D96 Deakin, Basil. "Billy's Catalogue of Spilled Blood, Sprayed Guts." The Mail-Star [Halifax], 24 Nov. 1972, p. 22.
Deakin finds that the "book made gripping, if unpleasant reading...and this faithful adaptation makes good theatre...." If the portrayal of Billy by Jerry Franken "appears rather too bland for so notorious a killer as Billy the Kid, the fault must surely lie with the author, who takes a somewhat detached view of his anti-hero as he chronicles his deeds, his associates, his anecdotes."
D97 Whittaker, Herbert. "A Sterling Production of Billy the Kid." The Globe and Mail [Toronto], 11 April 1973, p. 12.
John Wood's production at Stratford is "remarkable." "Ondaatje evokes a period, fingers through a chronicle and creates a hero.... The extraordinary imagery and cross-references in humanity...[Ondaatje] has brought to this faded subject is supplemented quite uncannily by Wood's over-all vision for them," although "where the Ondaatje images sometimes daze us, those supplied by his director never do."
D98 Chusid, Harvey. "Billy the Kid." The Citizen [Ottawa], 11 July 1973, p. 100.
The Stratford production "has added yet another element to give the book's fragmentary shape a cohesiveness which prevents its being performed as a ramshackle sequence of episodes tracing the last days of Bonney's life . . .--Alan Laing's imaginative, albeit somewhat derivative, musical score." Chusid finds the production "faithful to the spirit and personal style of Ondaatje's material" with its "raw brilliance and unmistakable significance," though John Wood's production "has its moments of flagging interest."
D99 Kareda, Urjo. "'Twas the Blues That Got Billy." The Toronto Star, 11 July 1973, p. 33.
Comparing the play to the written work, Kareda finds that the "stage adaptation [Stratford Festival], perhaps inevitably, loses the work's cool, spacious oddness.... What is most fundamentally lost . . . is a sense of variety." The play becomes "an endless elegy.... The ceaseless dying fall and the moody brooding become mannered. The symbolic elements...are embarassing.... How far can you push melancholia without turning into Hamlet?"
D100 Porter, McKenzie. "Truth and Beauty Glisten in This Tale of the Old West." The Toronto Sun, 12 July 1973, p. 19.
Porter urges his audience to see this play at Stratford Festival "and you'll never waste time and money again on a Hollywood horse opera." The work is "edifying and gripping entertainment" and contains "dark, luminous lines" from which "beauty glistens through brutishness." Under John Wood's "skillful" direction "the verse, sounds like natural speech and the dramatic illusion remains as intact as it is intense."
D101 Whittaker, Herbert. "Allan Gardens Fare Marred by Sameness." The Globe and Mail [Toronto], 6 Nov. 1973, p. 15.
Ondaatje's The Collected Works of Billy the Kid has had successful reaction at Stratford's Third Stage and Los Angeles. "Ondaatje's poetic work is the second Canadian play to win high praise in the United States recently."
D102 Whittaker, Herbert. "Billy the Kid: A Legend Skinned Alive." The Globe and Mail [Toronto], 31 Oct. 1974, p. 14.
Whittaker is critical of the Martin Kinch production as one which "doesn't so much conjure up Billy the Kid and his legend as skin them alive...." This is "a circus of low comedy, taking the production's concept of a hero all the way to absurdity."
D103 McCaughana, David. Rev. of Billy The Kid. The Varsity [Univ. of Toronto], 8 Nov. 1974, p. 10.
In this Toronto Free Theatre production, "there's a loose-knit quality to Ondaatje's work; its strength comes from the series of episodes that are built upon one another rather than from any dramatic intensity woven into the play.... The work does contain some very vivid images but on stage the power of Ondaatje's language alone cannot carry it along very well."
D104 Boru, Brian. Rev. of Billy the Kid. Toronto Show Business, 20 Nov. 1974, n. pag.
"While the Toronto Free Theatre's production may not be altogether silly as a play, it by no means preserves the vitality of the original work.... [T]oo little of the book's potential is realized: . . . [the imagery] cries out for a dramatic context on stage; the scenes, though written in a dialogue style, tend to be narrative rather than illustrative; the non-linear nature of the book's arrangement is neither carried over [n]or exploited in the theatre; and finally the opportunity to expand Billy's phantasmagoric visions into a shared aesthetic experience seems to have been missed.... The greatest disappointment...is his failure to retain control of many of the book's central values. Something gets lost in the translation,...and it has to do with a subtle shift toward externals."
D105 Bale, Doug. "Fatal Flaw Plagues Billy the Kid Script." The London Free Press, 15 March 1975, p. 64.
Although the play at Theatre London has been reworked considerably by Ondaatje since its Stratford appearance, "attempting to make it more workable as a theatre piece, it is first-rate poetry, but the images it produces so lavishly for the mind's eye are, for the most part, images that cannot be shown on a stage.... The script is still plagued by the fatal flaw it had when it premiered at the Stratford Festival in 1972. It is not stage material."
D106 Portman, Jamie. "Billy the Kid More Mood Than Message." Edmonton Journal, 9 Jan. 1976, p. 58.
Portman refers to the mixed reception the play has received. This includes "Martin Gottfried of The New York Post [who] said there should be a law against importing government-subsidized trash" and a denunciation of the written work in the House of Commons praises Halifax's Neptune Theatre Company's production under artistic director John Wood as one in which "the chemistry still works,...a steady compelling total theatre experience," but in the final analysis, "more texture than substance, more mood than message."
D107 Fraser, John. "Canada Sent Billy the Kid Gunning and He Dropped a Bomb Instead." The Globe and Mail [Toronto], 24 Jan. 1976, p. 27.
Citing the sending of an unseasoned production, inaccurate publicity ("assumed it was a campy cowboy yarn"), opening on a night "no one ever goes to the theatre in New York" as some of the reasons for the failure of this Bicentennial offering of the Neptune Theatre in New York, Fraser questions "the wisdom of taking a smallscale theatrical experiment that didn't depart too far from the original poetic conception, and bloating it into a major extravaganza. Billy was a modest, non-musical success in Stratford, but the Neptune Theatre, with the best of intentions has transformed it into full-scale, overblown flop.... The reputation of a good poet, a struggling regional theatre and some very competent actors were considerably damaged in the ensuing blast from this bomb."
D108 Wyman, Max. "Billy the Kid, Baby-Faced Billy, Where Did You Go Plumb Wrong?". The Vancouver Sun, 3 March 1977, p. 31.
Wyman notes the negative U.S. critical reaction from critics such as "obscene...coarse... unstageworthy...unbearable...garbage" and audience response of "indignation to what they termed its 'smut, indiscriminate shooting and killing, sex, nudity, vulgarity, filthy language.'" Wyman also reacts negatively to the play (in a new production by Simon Fraser Group Theatre) "on grounds of artistic deficiency (an awkward, inflated pretentiousness that creeps into the poetry) rather than through any nebulous middleclass questioning of its 'taste'--because while Ondaatje's language, at its best moments, contains a visceral, animal imagery that has a fierce compulsion, there are other moments when his means of capturing and expressing the dark, doomed lyricism of the man seem forced, selfconscious, banal." Though commending "a bursting vitality and a strong sense of immediacy about the production...still, there are...limits to the dramatic qualities that can he imposed on The Collected Works, and I would think this production is near them."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
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Record: 395- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected film and play reviews; Coming through Slaughter (Play)
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- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: COMING through slaughter (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MOP2
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Source: Part 2: Works On Michael Ondaatje. Brady, Judith (compiler); Toronto, Ontario : ECW Press, 1985, pp. 152-202
Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected film and play reviews; Coming through Slaughter (Play)
Brady, Judith (compiler)
D109 Goddard, Peter. "Play Fails to Unravel Cornet Player's Mystery." The Toronto Star, 10 Jan. 1980, p. F3.
Coming Through Slaughter "works as prose on the page . . . but when actors are forced to repeat such lines verbatim, the effect is more than of a reading than a play."
D110 Norris, John. Rev. of Coming Through Slaughter. coda, No. 172 (April 1980), p. 31.
Ondaatje manages "to capture the essence of 'street life' which was very much a part of jazz music." The play "is a totally absorbing musical and theatrical experience."
D111 Conlogue, Ray. "Ondaatje's Ego Kills Slaughter." The Globe and Mail [Toronto], 1 Oct. 1980, Sec. Entertainment, p. 25.
Conlogue objects to "Ondaatje's infuriating lack of specifics.... There are scenes of individual life, wit and color..., "but the characters "collide like billiard balls, and after a while that becomes pointless.... Ondaatje's sensibility is unique, but its solipsism makes it antagonistic to theatre."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
Item Number: ABCMA06MOP2000006003004015
Record: 396- Title:
- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews; Selected film and play reviews; The Clinton Special
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- Part 2 Works On Michael Ondaatje; Selected book reviews and selected film and play reviews
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Brady, Judith (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: ONDAATJE, Michael; ONDAATJE, Michael -- Criticism & interpretation -- Bibliography
Titles critiqued: CLINTON special (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Brady, Judith (compiler) Part 2: Works On Michael Ondaatje.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 152-202)
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Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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D94 Knelman, Martin. "Ondaatje's Inside View of The Farm Show." The Globe and Mail [Toronto], 1 May 1975, p. 13.
"Unlike the CBC television version, Ondaatje's film attempts something quite different" taking us back and letting us see "not just sketches from the show that reached the stage but the process of how they got developed." "We can sort out for ourselves what qualities come from the subject and which from the style of the troupe."
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Source: Brady, Judith (compiler); . Part 2: Works On Michael Ondaatje, Toronto, Ontario : ECW Press, 1985. pp. 152-202 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MOP2.
Item Number: ABCMA06MOP2000006003004013
Record: 397- Title:
- Part 2 Works On P.K
- Other Title:
- Part 2 Works On P.K. Page: Articles and sections of books, theses and dissertations, interviews, poems dedicated to Page, audio-visual material, photographs and awards and honours
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
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- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 2: Works On P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Source: Part 2: Works On P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 237-282
Part 2 Works On P.K
Orange, John (compiler)
C147 Farley, Thomas Ernest. "Love and Death in Canadian Poetry." M.A. Thesis Carlton 1963.
Characters who feel that they are living in exile from life respond in various ways. In Page's poetry, they often withdraw into a world of fantasy.
C148 Francis, Wynne. "Urban Images in Canadian Poetry." M.A. Thesis McGill 1963.
A number of Page's poems are quoted as examples of a "restless, hopeless search for meaning and the constant disillusionment which haunts modern man." Page also captures the mechanical regularity of life in "The Stenographers."
C149 Harder, Helga. "English Canadian Poetry, 1935-55: A Thematic Study." M.A. Thesis British Columbia 1965.
Page is cited as one of the poets who after the Second World War focused increasingly on the individual's psycholological responses to the war. She writes of loneliness, isolation, and the need for freedom in adults and particularly in adolescents. The theme of the tedium of work is described in poems such as "The Stenographers," "Waking," and "The Sick."
C150 Stevens, Peter. "The Development of Canadian Poetry between the Wars and Its Reflection of Social Awareness." Diss. Saskatchewan 1968.
In his survey of poetry published in the late 1930s Stevens assesses Page's three poems published in Canadian Poetry Magazine in 1939.
C151 Macri, Francis M. "L'Alienation dans l'Ouvre d'Anne Hebert et de P. K. Page." M.A. Thesis Sherbrooke 1970.
An introductory chapter deals with solitude and isolation as a theme in both English and French Canadian poetry. Alienation in the poetry of Saint-Denys-Garneau, A. J. M. Smith, F. R. Scott, and A. M. Klein is examined in order to define the nature of the alienation one finds in the poems of Page and Hebert. A second chapter examines the fiction of Page and Hebert and sets down a list of symbols used by each in their poetry. Hebert emphasizes closed spaces whereas Page contrasts open and closed spaces. In a third chapter the poetry of the two writers is found to contain "un voyage de decouverte qui marque une progression vers une crise definitive. Cette crise est provoquee par l'alienation chez les poetes." The sources of alienation, both social and psychological, are examined in a number of poems. Both poets anticipate a new birth at the end of many of their poems.
C152 Farrugia, Jill. "The Poetry and Poesy of P. K. Page: A Study in Conflicts of Opposites." M.A. Thesis British Columbia 1971.
The thesis focuses primarily on the themes which emerge from a conflict of opposites in the prose and poems. Isolation of the self and a desire to feel part of a community result most often in feelings of encasement and lack of self-knowledge. Childhood innocence may result in the same kinds of isolation and it can also be caused by dreams of love. The need for love to release the self can be found in the tension produced by the desire for freedom in the face of social and parental constraints. Page's Marxist love of humanity is replaced by a more Freudian perspective. Isolation is dcscribed by images of ice, snow, caves, mines, vaults, black and white colour, and metallic and stone objects. Organic imagery suggests vitality and potential for release. This "rebirth principle" can also be found in Page's drawings.
C153 Meis, Joanne. "Little Magazines and Canadian War Poetry 1939-1945 with Some Reference to Poetry of the First World War." M.A. Thesis British Columbia 1971.
Page is cited as an example of poets who approach the war indirectly to add background imagery or atmosphere. In Page's poems war is often a "part of her characters' psychological environment, but [it] does not intrude further into the poem." Page's poem "The Traveller" is described at some length as an example of her development under the influence of the Preview group and as an early anticipation of her later work. "Generation," "Poem: [Forgive us, who have not . . .]," and "The Bands and the Beautiful Children" are examined for their thematic connection with the war.
C154 Valleau, Allen Keith. "The Development of P. K. Page's Imagery: The Subjective Eye--The Eye of the Conjuror." M.A. Thesis British Columbia 1973.
The thesis includes an overview of the critical work on Page up to 1965. Valleau complains of the cursory nature of studies on Page up to 1973. He then charts Page's concern with the nature of perception and functions of imagination and memory in her early work, and he attempts to locate the influences of Patrick Anderson's sound patterns on Page's poetry. "The Stenographers" is treated at length as an example of all of the above themes and influences. As Page developed, her work became a complex examination of "perspective and vision," and her recurring images trace her deeper insights into the nature of both. "Stories of Snow" is analyzed as an example of this stage in her development. Later Page examines the "bounds of vision" and she is aware of the restrictive delusions of innocence and of the infinite possibilities in imaginative perspective.
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Source: Orange, John (compiler); . Part 2: Works On P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 237-282 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP2.
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Record: 398- Title:
- Part 2 Works On P.K. Page: Articles and sections of books, theses and dissertations, interviews, poems dedicated to Page, audio-visual material, photographs and awards and honours; Articles and sections of books
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- Part 2 Works On P.K. Page: Articles and sections of books, theses and dissertations, interviews, poems dedicated to Page, audio-visual material, photographs and awards and honours
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 2: Works On P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Source: Part 2: Works On P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 237-282
Part 2 Works On P.K. Page: Articles and sections of books, theses and dissertations, interviews, poems dedicated to Page, audio-visual material, photographs and awards and honours; Articles and sections of books
Orange, John (compiler)
[underbar]
C1 Sutherland, John. "P. K. Page and Preview." First Statement, 1, No. 6 ([Oct. 1942]), 7-8. Rpt. in Essays, Controversies and Poems. By John Sutherland. Ed. and introd. Miriam Waddington. New Canadian Library Original, No. 81. Toronto: McClelland and Stewart, 1972, pp. 96-97.
Sutherland feels that under Preview's influences, especially that of Patrick Anderson, Page's style has developed in "the general direction of Auden and Spender." She has turned outward, is less subjective, though at times she falls back into excessive emotion and then the "phrasing [becomes] too overwhelming to be entirely true."
C2 Sutherland, John. "Earle Birney's 'David.'" First Statement, 1, No. 9 ([Dec. 1942]), 6-8. Rpt. in Essays, Controversies and Poems. By John Sutherland. Ed. and introd. Miriam Waddington. New Canadian Library Original, No. 81. Toronto: McClelland and Stewart, 1972, p. 93.
In a discussion of Birney's poem Sutherland mentions that Page is one of a group of new writers who has "come to regard the country as too insignificant for inclusion" in their poems. He says that "for years" Page wrote almost exclusively of nature but "new circumstances and a new environment...worked a complete change in her poetry."
C3 Smith, A. J. M. "P. K. Page (1917- ). In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and preface A. J. M. Smith. Toronto: Gage, 1943, p. 418. (Revised) 2nd ed., 1948, p. 418. (Revised) 3rd ed., 1957, pp. 466-67.
A brief mention of Page. In the third edition, Smith offers praise from reviews of her work by William Meredith (D9) and George Woodcock (D14). He also provides a brief, general critique and notes the "unity, intensity and perception" in The Metal and the Flower.
C4 Frye, Northrop. "Canada and Its Poetry." The Canadian Forum, Dec. 1943, p. 209. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, p. 93. Rpt. in The Bush Garden: Essays on the Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, p. 138. Rpt. in Forum: Canadian Life and Letters 1929-70. Selections from The Canadian Forum. Ed. and preface J. L. Granatstein and Peter Stevens. Toronto: Univ. of Toronto Press, 1972, p. 219.
Frye quotes from "The Stenographers" to demonstrate his view that Canadian poets use a crisp and concrete diction.
C5 Shaw, Neufville. "The Maple Leaf Is Dying." Preview, No. 17 (Dec. 1943), pp. 2, 3. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 103, 104.
Page is among those authors in The Book of Canadian Poetry: A Critical and Historical Anthology who "have concentrated on economy of form and have...elected images which spring from the trend of the theme without losing their relationship to it" and who have made us "quite contentedly proclaim the death of the Maple Leaf" school.
C6 Livesay, Dorothy. "This Canadian Poetry." The Canadian Forum, April 1944, pp. 20-21.
Livesay objects to A. J. M. Smith's suggestion that the members of the young Preview group are the most innovative poets in Canada. Page and others yearn to break free from their British masters, but still imitate them from time to time.
C7 C[rawley]., A[lan]. "Editor's Note." Rev. of Unit of Five, ed. Ronald Hambleton. Contemporary Verse, No. 12 (Jan. 1945), p. 15.
Crawley says that the volume is a "startling and rather distressing revelation" of the effect of the confusion of values experienced by poets educated in the period between the wars. The selection of Page poems is not the best because "in too many of them there is too strong an impression of cold analytical detachment unwarmed by sympathetic understanding," so that her brilliant characters seem too abstract. Her language is brilliant, especially in "No Flowers," and she will grow to be a fine poet when she discovers the "courage, fortitude and hope" beneath the surface of human actions.
C8 Sutherland, John. "Five Poets." Rev. of Unit of Five, ed. Ronald Hambleton. First Statement, 2, No. 11 (Feb.-March 1945), pp. 30, 31. Rpt. in Essays, Controversies and Poems. By John Sutherland. Ed. and introd. Miriam Waddington. New Canadian Library Original, No. 81. Toronto: McClelland and Stewart, 1972, pp. 40, 41.
This group of five does not make a "unit." Page's poems indicate that, like Auden and Spender, she is an intuitive writer "who describes people of a confused time" and that the poet herself, like the character in her poem "Cullen," is slightly confused. "She will produce even better work if she can succeed in joining her creative powers with a more exacting principle of selection."
C9 Rev. of Unit of Five, ed. Ronald Hambleton. Canadian Poetry Magazine, 8, No. 3 (March 1945), 36-37.
These young poets write an "alleged poetry" which is weakly imitative of the "Asylum Schools in London or New York," and their "petulant juvenile snarling against the world of our time" does not represent the voices of the masses. For all but James Wreford "...man is just something to sneer at and be angry over."
C10 Brown, E. K. "Letters in Canada: 1944. Poetry." Rev. of Unit of Five, ed. Ronald Hambleton. University of Toronto Quarterly, 14 (April 1945), 264. Rpt. in Responses and Evaluations: Essays on Canada. By E. K. Brown. Ed. David Staines. New Canadian Library, No. 137. Toronto: McClelland and Stewart, 1977, pp. 234-35.
Page's poetry is "tense and clipped" and relies on implication. Given greater range, Page could be less monotonous and might develop into a significant poet.
C11 Frye, Northrop. Rev. of Unit of Five, ed. Ronald Hambleton. The Canadian Forum, May 1945, p. 48.
The brief remarks on Page's contributions suggest that her work is self-conscious in style and technique, but its "rather metallic glitter" is sometimes appropriate to the poems' urban content. The poems fail only when "an irresponsible verbalism runs away with the feeling."
C12 Nims, J. E. "Five Young Canadian Poets." Rev. of Unit of Five, ed. Ronald Hambleton. Poetry [Chicago], 66 (Sept. 1945), 334, 336-37.
Nims praises Page for "lifting her fairly simple material . . . [to] the rich and open daylight." Her best poems are satiric, but she should not stay with satire. Page's sympathies are evident, but she uses her technique too much like a virtuoso and would write better poetry using "simpler means."
C13 Sutherland, John. "The Poetry of P. K. Page." Northern Review, 1, No. 4 (Dec.-Jan. 19[46]-47), 13-23. Rpt. (abridged) in Essays, Controversies and Poems. By John Sutherland. Ed. and introd. Miriam Waddington. New Canadian Library Original, No. 81. Toronto: McClelland and Stewart, 1972, pp. 101-12. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Sharon R. Gunton. Vol. XVIII. Detroit: Gale, 1981, 376-77.
Sutherland attempts to discover Page's strengths and weaknesses in order to pinpoint her original contribution to Canadian poetry. He cites The Sun and the Moon as an "ambitious failure" which is both "a counterpart and explanation of her poetry." It expresses "themes of unhappy love and of the escape from it into the world of nature" through the two separate personalities of Kristin. The problem is that Page couldn't decide "whether Kristin is an ugly or romantic being" who moved out of her introspective habits into a blind alley. In the early poetry the same ambiguous attitude is displayed toward those (individuals and groups) who cry out for love. Like other poets of social optimism in Canada, Page is not really convinced by Marxist thinking because it may in fact substitute sentiment for unpleasant facts. Page's work deals only superficially with ideas. Her intellect, sophistication, and wit are the result of too many images and startling metaphors and "a failure to choose among them." In fact Page possesses an emotional simplicity, the gift for fantasy and a unique imagination which is naive and independent of conscious ideas or beliefs which she tries to mask by adopting an aloof manner towards them. "Miss Page is on the defensive at all times." Evidence for this assessment is drawn from an analysis of "No Flowers," "Foreigner," "Isolationist," and "Cullen." The last poem, however, signals a new poetry where a central sensibility is still struggling for power over nature "leading to alternate victories and defeats," but now the struggle is understood as "the real opposition of self to society and as the fear of the self which produces it." Page's thinking originates more in Freud than in Marx.
C14 Sutherland, John. "Introduction: The Old and the New. II.--New Necessities." In Other Canadians: An Anthology of New Canadian Poetry in Canada 1940-1946. Ed. and introd. John Sutherland. Montreal: First Statement, 1947, pp. 15, 16. Rpt. ("New Necessities") in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 56, 57. Rpt. in Essays, Controversies and Poems. By John Sutherland. Ed. and introd. Miriam Waddington, New Canadian Library Original, No. 81. Toronto: McClelland and Stewart, 1972, pp. 50-51.
Page is listed as one of the more cosmopolitan (rather than colonial) poets who speak of individuals and their relations to society in the language of the "everyday realities" of "the ordinary man." She speaks of Canada, but has absorbed influences from England and elsewhere.
C15 Smith, A. J. M. Letter. The Canadian Forum, April 1947, p. 18.
Smith replies to John Sutherland (C16) on the same page and points out the contradictions in Sutherland's assessment of Page. On the one hand, Sutherland says that Page's poetry is more Freudian than Marxist, yet he castigates Smith for pointing out that her socially concerned poems are weak. Smith finds that Page's subjective poems are more interesting.
C16 Sutherland, John. "Anderson and Page." The Canadian Forum, April 1947, pp. 17-18.
In a letter to the editor of The Canadian Forum Sutherland comments on A. J. M. Smith's review of As Ten, as Twenty (D6). Sutherland complains that Smith ignores the social ideas in Page's poems. He spends most of his letter criticizing Smith's treatment of Patrick Anderson's poems on largely the same grounds: "He has tried to judge what these poets are saying, before he has bothered to tell us what it is."
C17 "Notice." Northern Review, 2, No. 1 (Oct.-Nov. 1947), 40. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 109-10.
This notice states that Page and Ralph Gustafson have resigned as regional editors because of a review of Robert Finch's poems by John Sutherland.
C18 Smith, A. J. M. Preface. In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. A. J. M. Smith. 2nd ed. Toronto: Gage, 1948, p. 33. (Revised) 3rd ed., 1957, p. 35.
In a survey of the historical evolution of Canadian poetry, Smith places Page as a poet of the 1940s who "sharpened and intensified the language of Canadian poetry."
C19 Wells, Henry. Where Poetry Stands Now. Toronto: Ryerson, 1948, pp. 55-56.
Page is cooler, more surgically precise, than A. M. Klein. Her personality is expressed only through her style, and her feelings come from her observation of others. Her poetry is "largely limited to the feminine sphere of a criticism of manners, and lacks the dignity and scope of a religious, social or historical view of the world" such as the poetry of Frederick Prokosch. But within its narrow field it "enjoys a high perfection."
C20 Shaw, Neufville. "The Poetry of P. K. Page." Educational Record [Quebec], 64, No. 3 (July-Sept. 1948), 152-56.
Page is not a "regional" poet and uses nature only in a metaphorical sense. The real source of tension in Page's poetry is between "a hesitant loneliness and the aggressive world it would assimilate." The impulse to hide, to reject the world, is set in opposition to social concerns and the roar of the outer world. In Montreal, Page wrote social poems; in Vancouver, she found an exotic dreamscape. "Stories of Snow" sets down the opposition between escape into fantasy and the danger of stasis that may result from this kind of retreat. Page is dexterous with words and uses powerful imagery.
C21 Birney, Earle. "Three Little Mags: Northern Review, Contemporary Verse, Here & Now." CBC Radio, 17 April 1949. Rpt. in Spreading Time: Remarks on Canadian Writing and Writers. Book 1: 1904-1949. By Earle Birney. Montreal: Vehicule, 1980, p. 142.
Birney notes "the great ruckus" created "when seven of the thirteen founding editors [of Northern Review] resigned (including Klein, Page and Patrick Anderson)" because of John Sutherland's "'destructive, harsh and unjust' criticism of living Canadian writers."
C22 Sutherland, John. "Old Dog Trait--An Extended Analysis." Contemporary Verse, No. 29 (Fall 1949), pp. 20, 22, 23.
Sutherland responds to Northrop Frye's theories regarding the way in which Canadian poets portray nature in their work, pointing out that nature is only a minor element in Page's poetry. The "energy" of E. J. Pratt and Isabella Valancy Crawford is also expressed by Page. Like Pratt, Page combines the "sense of fear with the sense of power."
C23 Sutherland, John. "The Past Decade in Canadian Poetry." Northern Review, 4, No. 2 (Dec.-Jan. 1950-51), 43, 46. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 118, 120-21. Rpt. in Essays, Controversies and Poems. By John Sutherland. Ed. and introd. Miriam Waddington. New Canadian Library Original, No. 81. Toronto: McClelland and Stewart, 1972, pp. 72, 74-75.
In an account of changes which took place in poetry between the 1930s and the 1940s Sutherland mentions Page and several other poets as the main voices calling for social change. The forties group also approached political themes with new techniques. Sutherland regrets that the poets of the late forties and early fifties, including Page, have returned to vague religious ideas and vocabularies, and speak more personally and share in feelings of universal guilt.
C24 Hamilton, Robert M. Canadian Quotations and Phrases, Literary and Historical. Toronto: McClelland and Stewart, 1952, pp. 72-73. Rpt. Rev. and enl. ed. Toronto: McClelland and Stewart, 1979, pp. 82, 256, 289, 310, 335, 422, 521, 542, 835, 862, 895.
Hamilton cites passages from "The Stenographers" under the heading "Eyes," and from "Forgive Us, Who Have Not Been Whole" under the heading "Failure." In the revised edition, Hamilton cites passages from "Cry Ararat!" under "Art," from "The Woman" under "Death," from "Element" under "Dreams," from "Paranoid" under "Egotism," from "Forgive Us, Who Have Not Been Whole" under "Failure," from "Portrait of Marina" under "Headaches," from "Cry Ararat!" under "Leaves," from "Personal Landscape" under "Love," from "The Event" under "Sleep," from "The Stenographers" under "Stenographers," and from "The Permanent Tourists" under "Tourists."
C25 Pacey, Desmond. Creative Writing in Canada: A Short History of English-Canadian Literature. Toronto: Ryerson, 1952, pp. 115, 141, 144, 146-48, 156, 191, 198. Rpt. (revised, expanded) in Creative Writing in Canada: A Short History of EnglishCanadian Literature. Rev. ed. Toronto: Ryerson, 1954, pp. 124, 153, 156, 158-61, 162, 163, 185, 234, 268, 276.
Pacey describes Page's early association with the Preview poets and declares that Patrick Anderson's influence on her poetry was not all positive because it made her into "a propagandist poet" and she had little talent for propaganda. "Generation," for example, is a parody of early Auden poetry. Page's gift is for the "sympathetic interpretation of other people" and her best work is "essentially feminine, the product of intuitive understanding." Her poetry is especially rich with alliteration, assonance, and images which blend the organic and the inorganic. In the revised edition, Pacey summarizes her work through to 1954.
C26 Birney, Earle. Notes. In Twentieth Century Canadian Poetry: An Anthology. Ed. and introd. Earle Birney. Toronto: Ryerson, 1953, pp. 138, 145, 148, 150, 151.
"Average" contains "wit, pithiness and a sustained ironic symbolism." In "Adolescence," the "concentration of style and the use of 'poetic ambiguity'" make the poem difficult to understand. Page creates a memorable "character" in her "Landlady" through her manipulation of "figures of speech from the urban . . . world." "Christmas Eve--Market Square" focuses on trees, and the imagery in "The Stenographers" is "concentrated and often surprising."
C27 Pacey, Desmond. "English-Canadian Poetry, 1944-1954." Culture, 15, No. 3 (Sept. 1954), 255, 262, 263. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 160, 166, 167. Rpt. in Essays in Canadian Criticism 1938-1969. By Desmond Pacey. Toronto: Ryerson, 1969, pp. 101, 108, 109.
Unit of Five includes the work of "five most promising new poets." Page is among those poets who stand "midway between what we have loosely labelled the metaphysical and social protest schools" of poetry, combining "many features of both," although she is "more complex and sophisticated than the Dudek-Layton-Souster group." Around 1945 Page seemed likely "to become the leading poetess of Canada." Pacey notes the influence of Auden and Patrick Anderson, her "unusual but effective imagery," and her social commentary. It is unfortunate that she "has published very little in the last five years."
C28 Webb, Phyllis. "The Poet and the Publisher." Queen's Quarterly, 61 (Winter 1954-55), 501, 505. Presented in Canadian Writers' Conference, Queen's Univ., Kingston. 28-31 July 1955. Rpt. (revised) in Writings in Canada: Proceedings of the Canadian Writers' Conference, Queen's University, 28-31 July, 1955. Ed. George Whalley. Introd. F. R. Scott. Toronto: Macmillan, 1956, p. 82.
Page sells between 450 and 1000 copies of her books.
C29 Smith, A. J. M. "Poet." Canadian Writers' Conference, Queen's Univ., Kingston. 28-31 July 1955. Printed in Writing in Canada: Proceedings of the Canadian Writers' Conference, Queen's University, 28-31 July, 1955. Ed. George Whalley. Introd. F. R. Scott. Toronto: Macmillan, 1956, p. 23.
Page's poetry, along with others', illustrates a "union of sensuous richness with verbal exuberance." Smith also says her poems are "bitter, inward-turned flowerings of perhaps frustation."
C30 Frye, Northrop. "Preface to an Uncollected Anthology." Sec. II, The Royal Society of Canada, Toronto. 11 June 1956. Printed in Studia Varia: Royal Society of Canada, Literary and Scientific Papers. Ed. G. D. Murray. Toronto: Univ. of Toronto Press, 1957, pp. 25, 35. Rpt. (revised, abridged) in Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. Toronto: Gage, 1966, pp. 518, 523. Rpt. (expanded) in The Bush Garden: Essays on the Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, pp. 168, 179. Rpt. in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Patterns of Literary Criticism, No. 9. Chicago: Univ. of Chicago Press, 1971, pp. 186, 187. Rpt. in Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 597, 603. Rpt. in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Rev. ed. Toronto: Univ. of Toronto Press, 1977, pp. 186, 187.
Page's "The Stenographers" and "The Metal and the Flower" are cited among a number of other poems demonstrating the development of modern poems with social implications.
C31 Daniells, Roy. "Literature: 1. Poetry and the Novel." In The Culture of Contemporary Canada. Ed. Julian Park. Ithaca, N.Y.: Cornell Univ. Press, 1957, p. 60.
Page belongs to the "post-Auden world of imagery and attitude." The "social and political overtones" of her early work is "somewhat strained"; her recent work shows "a maturely organized set of themes," "a world of images which reveal the harmony of dreams in the midst of an apparent preoccupation with the discordant detail of an ordinary life. The visual effects are precise, the implications, multiple."
C32 McLaren, Floris Clark. "Contemporary Verse: A Canadian Quarterly." The Tamarack Review, No. 3 (Spring 1957), pp. 55-63.
In her description of the rise and fall of Contemporary Verse, McLaren mentions that Page was invited to submit poems. She quotes a letter from Page to Alan Crawley expressing gratitude for his help and friendship.
C33 Frye, Northrop. "Poetry." In The Arts in Canada: Stocktaking at Midcentury. Ed. Malcolm Ross. Toronto: Macmillan, 1958, p. 89.
Frye identifies Page as a founder of Preview and says that she, along with the other members of the Preview group, is a Neo-Romantic whose "emotional reaction is clear and [whose] intellectual one is fuzzy." In The Metal and the Flower Page moves over to the "academic camp" and she has developed her themes in "an elaborate and quite recognizable mythical framework of expression."
C34 Pacey, Desmond. Ten Canadian Poets: A Group of Biographical and Critical Essays. Toronto: Ryerson, 1958, p. 274.
Page is listed as part of a school of vigorous writers of the early forties who founded the Preview and First Statement magazines.
C35 Rashley, R. E. Poetry in Canada: The First Three Steps. Toronto: Ryerson, 1958, pp. 132, 136-41, 147, 148, 150, 153, 158.
Rashley examines Page's early poems primarily in the context of their social content. There are three phases: direct criticism of selfish individualism as seen in "Landlady," "Only Child," "Isolationist," and "The Snapshot"; sympathetic understanding of persons in order to assess socioeconomic pressures and debased human values as in "If It Were You," "Round-Trip," "The Stenographer" [sic], and "The Inarticulate"; and statements of a faith in humanity to be transformed through love as in "Personal Landscape," "Divers," "Love Poem," and "The Condemned." Page's poetry displays an "extremely personal formulation of experience" which suggests that her poetry is not derived initially from Marxism or social formula. Love of humanity "is urged not only as a Marxist concept but also as an escape from a notion of life as sheer horror." The Metal and the Flower continues the social themes of the earlier poetry, but it is criticized for being too general, too involved with the senses, and too mannered --especially in its use of partial rhymes.
C36 "Along Poet's Row: R K. Page, Biographical Note." Canadian Author & Bookman, 34, No. 1 (Spring 1958), 9.
Brief bio-bibliographical data.
C37 Cox, Leo. "Some Thoughts on Poetry Written in Canada." Canadian Author & Bookman, 34, No. 1 (Spring 1958), 8.
Page is mentioned as writing psycho-analytical poetry.
C38 Rhodenizer, V. B. "The Contemporary Scene in Canadian Poetry." Canadian Author & Bookman, 34, No. 1 (Spring 1958), 10.
Page is mentioned as one of the newer poets whose poems are obscure due to the influence of the "English metaphysical school" and the influence of T. S. Eliot.
C39 Wilson, Milton. "Other Canadians and After." Association of Canadian University Teachers of English, Univ. of Alberta, Edmonton, Alta. June 1958. Printed in The Tamarack Review, No. 9 (Autumn 1958), pp. 77-92. Rpt. in Masks of Poetry: Essays by Canadian Critics on Canadian Verse. Ed. A. J. M. Smith. New Canadian Library Original, No. O3. Toronto: McClelland and Stewart, 1962, pp. 123-38.
Page's career is examined along with the careers of Patrick Anderson, James Wreford, and others. Wilson finds all three poets oppressive. "Page's vague and stunted expansion towards a larger social body, her Spenderian pity and selfpity--all these do not open their centripetal, pastoral, half-empty world." Page, like Anderson, writes "decadent pastorals," but her poetry lasts because of its "underlying integrity of imagery or principle which might be realized, although it rarely is." In her second volume, however, Page's poems have a new severity and intensity and an increasing transparency that indicate real development. In response to John Sutherland's criticism (C13), Wilson notes that Page did not slow down or simply repeat herself, and, along with a number of other Canadian poets, Page has pushed Canadian poetry forward while trailing whatever British or European influences she needed.
C40 Dudek, Louis. "The Role of Little Magazines in Canada." The Canadian Forum, July 1958, pp. 77, 78. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 208, 210. Rpt. in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, pp. 89, 91.
Page is mentioned among those poets involved in new magazines.
C41 Dudek, Louis. "Patterns of Recent Canadian Poetry." Culture, 19, No. 4 (Dec. 1958), 403, 409. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 275, 280. Rpt. in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, pp. 98, 104.
Page's poetry has suffered by her living abroad. Her last book, though it received a Governor-General's Award, "was a painful imitation of her earlier mannerisms, without any sign of breaking new ground."
C42 Finnigan, Joan. "Canadian Poetry Finds Its Voice in a Golden Age." The Globe Magazine [The Globe and Mail] [Toronto], 20 Jan. 1962, pp. 12, 14. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, p. 237.
Page's marriage to the ambassador to Mexico and Guatemala is cited as evidence that she, like other poets, contributes more than poetry to society. A photograph of Page appears on page fourteen of The Globe and Mail.
C43 Francis, Wynne. "Montreal Poets of the Forties." Canadian Literature, No. 14 (Autumn 1962), pp. 24, 28, 31-33. Rpt. in A Choice of Critics: Selections from Canadian Literature. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1966, pp. 39, 45, 48, 49-50.
This account of the evolution of important poetry magazines in the 1920-50 period locates Page among the Preview group and charts her various affiliations until she resigned from the editorial board of Northern Review. Page is mentioned only in passing.
C44 Francis, Anne. "P. K." Canadian Art, 20, No. 1 [No. 83] (Jan.-Feb. 1963), 42-45.
In Page's poetry and in her painting, she "sees life reduced to its essence." Whereas the poet required "a long and disciplined apprenticeship with the tools of her craft," the artist seems to have been born with a grasp of her craft. Page's initial attempts at drawing in Brazil are described. She says that she never plans the subject of her drawing; the subject emerges from her unconscious and "the medium takes over." "I think the artist draws in order to see, not the other way round," says Page.
C45 Gnarowski, Michael. "The Role of 'Little Magazines' in the Development of Poetry in English in Montreal." Culture, 24, No. 3 (Sept. 1963), 284. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, p. 220.
Page, along with the rest of the Preview group, was committed to Modern poetry. The group acted as "an irritant" for the cosmopolitan First Statement group.
C46 "P. K. Page (1916- )." In Canadian Writers / Ecrivains Canadiens: A Biographical Dictionary. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Toronto: Ryerson, 1964, p. 105. Rpt. in Ecrivains Canadiens / Canadian Writers: A Biographical Dictionary. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Rev. and enl. ed. Toronto: Ryerson, 1966, pp. 118-19.
A brief note on Page's career lists her poetic development as moving from socialistic attitudes to an interest in psychology, the theme of love of humanity, and finally to a symbolic language, less mannered and freer in style.
C47 Woodcock, George. "Away from Lost Worlds." In On Contemporary Literature. Ed. and introd. Richard Kostelanetz. New York: Avon, 1964, pp. 100, 106. Rpt. (revised--"Culture and the Death of Colonialism") in Canada and the Canadians. By George Woodcock. Toronto: Oxford Univ. Press, 1970, p. 253. Rpt. (revised-"Away from Lost Worlds: Notes on the Development of a Canadian Literature") in Odysseus Ever Returning: Essays on Canadian Writers and Writing. Ed. George Woodcock. Introd. W. H. New. New Canadian Library, No. 71. Toronto: McClelland and Stewart, 1970, pp. 4, 9. Rpt. in Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, pp. 212, 218.
Woodcock notes the importance of Contemporary Verse and Northern Review in Page's literary emergence. Page is "metaphysical" and "unconcerned with poetic craftsmanship."
C48 O Broin, Padraig. "After Strange Gods (A. J. M. Smith and the Concept of Nationalism)." In Canadian Author & Bookman, 39, No. 4 (Summer 1964), 8. Rpt. in The McGill Movement: A. J. M. Smith, F. R. Scott and Leo Kennedy. Ed. and introd. Peter Stevens. Critical Views on Canadian Writers, No. 2. Toronto: Ryerson, 1969, p. 119. Rpt. in The Antigonish Review, 1, No. 1 (Spring 1970), 76-77.
A quotation by Page on regionalism is reproduced.
C49 Beattie, Munro. "Poetry 1935-50." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 767, 769-71, 773, 781. 2nd ed., 1976. Vol. II, 278, 279, 280, 281-82, 283, 285, 292.
Page's involvement with Preview is outlined as well as her early publishing history. The poems come out of the "Auden-Isherwood-Spender era...but their author has clearly listened more attentively to Sigmund Freud than to Karl Marx." The poems are anti-establishment, but more private than political. Her poems move from the outer world to the inner one of fantasy and neurosis. She composes striking montages of imagery "to suggest the horror or mystery that lies behind the phenomena of the common-place world...." She also demonstrates "a flair for cinematic treatment" as images merge and change in the poems. The Metal and the Flower shows an increase in skill, precision, and subtle distancing.
C50 Beattie, Munro. "Poetry 1950-1960." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, p. 785. 2nd ed., 1976. Vol. II, 297.
Page "ceased to write verse after The Metal and the Flower."
C51 Pacey, Desmond. "The Writer and His Public." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 489, 491, 494. 2nd ed., 1976. Vol. II, 15, 17, 20.
In an account of the growth of Preview and First Statement, Pacey outlines Page's involvement. He also mentions the publication of Unit of Five and makes reference to Page as a poet of the 1940s.
C52 Jones, D. G. "The Sleeping Giant or the Uncreated Conscience of the Race." Association of Canadian University Teachers of English, Univ. of British Columbia, Vancouver, B.C. June 1965. Printed in Canadian Literature, No. 26 (Autumn 1965), pp. 7-8. Rpt. in A Choice of Critics: Selections from Canadian Literature. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1966, p. 8. Rpt. in Butterfly on Rock: A Study of Themes and Images in Canadian Literature. By D. G. Jones. Toronto: Univ. of Toronto Press, 1970, p. 17.
Jones's description of the Old Testament world of Canadian literature includes a reference to Page's "Arras" where a speaker has been locked into a garden.
C53 Klinck, Carl F., and Reginald E. Watters. "P. K. Page (1916- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. Rev. ed. Toronto: Gage, 1966, p. 418. (Revised) 3rd ed., 1974, p. 432.
Biographical information.
C54 Watters, R. E. "P. K. Page (1916- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. Rev. ed. Toronto: Gage, 1966, p. 599. (Revised) 3rd ed., 1974, p. 701.
Bibliographical data.
C55 Watters, Reginald Eyre, and Inglis Freeman Bell. "Page, Patricia Kathleen, 1916- ." In their On Canadian Literature 1806-1960: A Check List of Articles, Books and Theses on English-Canadian Literature, Its Authors and Language. Toronto: Univ. of Toronto Press, 1966, p. 138.
Bibliographical data.
C56 Story, Norah. "Page, P. K. (1916- )." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, p. 621.
Page writes "compelling imagist poems.... Her early poems were inspired by a strong sense of social justice, and she became increasingly interested in the psychological problems of the lonely and the supernatural." Story supplies biographical information.
C57 New, W. H. "A Wellspring of Magma: Modern Canadian Writing." Twentieth Century Literature, 14 (Oct. 1968), 125, 127, 131n.
In an introductory survey of Canada's best writers, New mentions Page's "fine portraits of disturbed minds": "Cullen," "Reflections in a Train Window," "The Stenographers," and "Isolationist."
C58 Pacey, Desmond. Essays in Canadian Criticism 1938-1968. Toronto: Ryerson, 1969, pp. 101, 110, 129, 199-200, 224.
In a survey of the poetry written between 1944 and 1954 Pacey notices Page as one of the promising newcomers and describes her work as combining traits of the metaphysical school and the social protest school. Pacey remarks that Page could have been "the leading poetess of Canada" by virtue of her personal style, her unusual and effective imagery, and her sensitivity to her world, but she has published too little and he hopes she will not stop altogether. Later he remarks that The Metal and the Flower is a "spiritless imitation" of her earlier work.
C59 Dudek, Louis. "2. Poetry in English." Canadian Literature, No. 41 (Summer 1969), p. 116. Rpt. in The Sixties: Writers and Writing of the Decade. A Symposium to Celebrate the Tenth Anniversary of Canadian Literature. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, p. 116. Rpt. in Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, p. 261. Rpt. ("Poetry of the Sixties") in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, p. 276.
In a survey of poetry Dudek mentions Page with Earle Birney, A. J. M. Smith, and Daryl Hine, and asks what line of development their poetry has taken. They deserve serious study, but have not received it because of a misplaced emphasis on popular success. The reviews have been "skimpy and ignorant," a side effect of a frontier culture.
C60 Robertson, George. "Alan Crawley and Contemporary Verse." Canadian Literature, No. 41 (Summer 1969), pp. 87-96. Rpt. in The Sixties: Writers and Writing of the Decade. A Symposium to Celebrate the Tenth Anniversary of Canadian Literature. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, pp. 87-96.
Originally a radio documentary for CBC Radio, this narration contains inserts of statements by a number of poets including Page. The poet recalls her earliest invitation from Alan Crawley to submit poems to Contemporary Verse and her delight at discovering other people genuinely interested in poetry when she was feeling isolated in the Maritimes. She fondly remembers Crawley's support and "direct dealings" with her poems; he put her at ease even though she was shy and reticent about her poetry.
C61 Jones, D. G. Butterfly on Rock: A Study of Themes and Images in Canadian Literature. Toronto: Univ. of Toronto Press, 1970, p. 165.
Jones states that the theme of the garrison versus the wilderness "runs through much of the work of...P. K. Page."
C61a Jones, Joseph, and Johanna Jones. "Patricia K. Page." In their Authors and Areas of Canada. People and Places in World-English Literature, No. 1. Austin, Tex.: Steck-Vaughn, 1970, pp. 50-51.
The entry contains a brief bibliography and an early photograph. The authors refer to Page's use of images to reinforce a psychological presentation. Page is a Montreal poet.
C62 Mandel, Eli. "Modern Canadian Poetry." Twentieth Century Literature, 16 (July 1970), 177. Rpt. in Another Time. By Eli Mandel. Three Solitudes: Contemporary Literary Criticism in Canada, No. 3. Erin, Ont.: Porcepic, 1977, p. 83.
A passage comparing "The place[s] the poet occupies" quotes from Page's "Stories of Snow."
C63 Woodcock, George. "Page, P. K. (Mrs. William Arthur Irwin)." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. New York: St. Martin's, 1970, pp. 831-33. Rpt. in Contemporary Poets. Rev. ed. Ed. James Vinson. New York: St. Martin's 1975, pp. 1152-54. Rpt. [revised--"Page, P(atricia) K(athleen)"] in 3rd ed., 1980, pp. 1152-54.
Page's publishing history is summarized. Woodcock then surveys Page's development. Her early verse was dominated by social protest, but by the late 1940s she had begun to focus on isolated, alienated, solitary characters. Her treatment of them was as close a "meeting of satire and compassion as is possible." She has moved to more mystical concerns and images which "suggest a Blakean or Asian vision of the way of liberation from the prison of self." Her most recent poetry shows a "progressive purification of line."
C64 Ringrose, Christopher Xerxes. "Patrick Anderson and the Critics." Canadian Literature, No. 43 (Winter 1970), pp. 10-23.
Page's reputation is contrasted with Patrick Anderson's in order to evaluate the reasons for their different critical receptions. Ringrose takes exception to Wynne Francis' description of the rivalry between the Preview group and the First Statement group (C43). He quotes Page to cite evidence that Francis has exaggerated the rivalry and its consequences.
C65 Stevens, Peter. "Canadian Artists as Writers." Canadian Literature, No. 46 (Autumn 1970), pp. 29-30.
Page sometimes complains that words tend to deaden things by making them into abstractions. Her drawings may be attempts to compensate for this because Page also demands a "sensuous response to life, an openness of spirit, for definition and limitation wreak violence on spontaneous existence...."
C66 Reference Division, McPherson Library, Univ. of Victoria, B.C., Comp. "Page, Patricia Kathleen* 1916- ." In Creative Canada: A Biographical Dictionary of Twentiety-Century Creative and Performing Artists. Vol. I. Toronto: Univ. of Toronto Press, 1971, 239.
Bio-bibliographical data.
C67 Smith, A. J. M. "The Poetry of P. K. Page." Canadian Literature, No. 50 (Autumn 1971), pp. 17-27. Rpt. in Towards a View of Canadian Letters: Selected Critical Essays 1928-1971. By A. J. M. Smith. Vancouver: Univ. of British Columbia Press, 1973, pp. 146-55. Rpt. in Poets and Critics: Essays from Canadian Literature 1966-1974. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1974, pp. 80-91. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Phyllis Carmel Mendelson and Dedria Bryfonski. Vol. VII. Detroit: Gale, 1977, 291.
Smith complains about the paucity of criticism on Page's work and sets out to rectify the situation by first outlining the recurring themes, archetypal images, and symbols in her poetry and, secondly, by analyzing some of her best, most representative poems. Her themes are the clarity of vision and the imaginative richness of childhood innocence; love which must be mastered by the will; and the realm of dream where child and poet live. Her images and symbols are related to White (snow, winter, ice, salt, glass) and to Green (gardens, flowers, leaves, trees, glass, sea). "But what most vividly lives and breathes here is the Eye, the Lung, the Heart, and the feeling and perceiving Mind." The Mind, even the wit, work unconsciously, as dreams do in the "poetry of vision." Poems in which winter images dominate are examined, particularly "Stories of Snow" and "Images of Angels." Then poems of flowers and gardens both before and after the fall are scrutinized, especially "Arras."
C68 Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, p. 65, 190, 205. Rpt. (excerpt--"Ice Women v. Earth Mothers: The Stone Angel and the Absent Venus") in Readings from Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, p. 234.
"The Snowman," "The Skiers," and "Stories of Snow" are cited as examples of Canadian poems in which snow is at first friendly, but then becomes a metaphor for terror, alienation, or death. "The Permanent Tourists" suggests the "consequences of cultural exile" in this country, and the short story "The Green Bird" contains an example of a powerful, negative, life-denying old woman--a type which recurs frequently in Canadian literature. Only the comment on "The Green Bird" is reprinted in the 1973 book.
C69 New, W. H. Articulating West: Essays on Purpose and Form in Modern Canadian Literature. [Three Solitudes: Contemporary Literary Criticism in Canada, No. 1.] Toronto: new, 1972, pp. xix-xx, 257n.
New quotes a passage from Page's short story "West Coast" as an example of the contagious madness of the wilderness myth which threatens the sophisticated narrator's need for order. Page has "a concern for perspectives." She was misunderstood but admired in the 1940s and has sought a form for her message in drawing.
C70 Waddington, Miriam. Introduction. Essays, Controversies and Poems. By John Sutherland. Ed. Miriam Waddington. New Canadian Library Original, No. 81. Toronto: McClelland and Stewart, 1972, pp. 10, 11.
Waddington notes that John Sutherland's review of Robert Finch's Poems lost him the support of Page, among others. Page "responded with a holy, pursed-lips letter of resignation."
C71 Watters, Reginald Eyre. "Page, Patricia Kathleen, 1916- ." In his A Checklist of Canadian Literature and Background Materials, 1628-1960, 2nd ed. Toronto: Univ. of Toronto Press, 1972, pp. 154, 361.
Bibliographical data.
C72 Shain, Merle. "Some of Our Best Poets Are . . .Women." Chatelaine, Oct. 1972, pp. 103, 104, 105.
In an article introducing a number of women poets, Page's biography is sketched. Her publishing history and a few critical comments are also included. The poems are "not autobiographical," often written with the persona of a man, and full of a reserve which is also part of Page's gracious manner. Shain includes "On Educating the Natives" (B148).
C73 Atwood, Margaret. Introduction. In The Sun and the Moon and Other Fictions. By P. K. Page. Found Books. Toronto: House of Anansi, 1973, pp. [iii-v].
This short Introduction expresses Atwood's delight in finding a Canadian romance which juxtaposes the heroine's talent for taking on the identity of any person or thing and the conventional social environment she inhabits. Beneath the surface of the story a "more restless allegory is being played out." Kristin is engaged in a powerstruggle for her lover's soul: "She must either destroy him, drowning her own identity in the process, or divert her attention to another object." The short stories share with the novel "both the bizzare perspective and the disconcerting insights" characteristic of Page's work at its best.
C74 Gnarowski, Michael. "Page, P. K. 1916- ." In his A Concise Bibliography of English Canadian Literature. Toronto: McClelland and Stewart, 1973, pp. 90-91. Rev. ed., 1978, p. 106.
Bibliographical data.
C75 Hassan, Ihab. "Canadian Literature: Poetry in English." In World Literature since 1945: Critical Surveys of the Contemporary Literatures of Europe and the Americas. Ed. Ivar Ivask and Gero von Wilpert. New York: Frederick Ungar, 1973, p. 132.
Page is mentioned as a Montreal poet who created some of the best Canadian poetry.
C76 MacCulloch, Clare. The Neglected Genre: The Short Story in Canada. Guelph, Ont.: Alive, 1973, pp. 57-60.
In a chapter entitled "The Modern Period (1939-1950)" MacCulloch cites Page's story "The Green Bird" as "an excellent example" of changes that took place in the short story during this time. He quotes from the story extensively and randomly to draw out examples of socially and historically relevant symbolism and to develop thematic traits.
C77 Seymour-Smith, Martin. Funk and Wagnall's Guide to Modern World Literature. New York: Funk and Wagnall, 1973, p. 334. Rpt. in American, Australian, British, Canadian, South African, New Zealand. By Martin Seymour-Smith. Vol. I of Guide to Modern World Literature. London: Hodder and Stoughton, 1975, pp. 362-63.
A brief note which lists Page as a poet of social protest who changed into a poet of psychological concern. Her most recent work (1967) is not as convincing as the earlier poems.
C78 Strickland, David. "Quotations" from English Canadian Literature. Modern Canadian Library. Toronto: Pagurian, 1973, pp. 31, 41, 49, 61, 72, 110.
Lines from the following works are cited under the following categories: "Sisters" under "Children," "The Woman" under "Death," "Paranoid" under "Egotism," "Traveller, Conjuror, Journeyman" under "Forgetfulness," "The Dome of Heaven" under "Heaven," and "Summer Resort" under "Memory."
C79 Walsh, William. Commonwealth Literature. London: Oxford Univ. Press, 1973, p. 89.
Page is described as an "inward personality shaped . . . by contemporary events." She is influenced and interested in everyone from Auden to Freud. The poetry seems removed from reality "existing in a self-contained world of metaphors."
C80 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 71, 88, 140, 150.
Page is mentioned briefly in the context of specific themes: the frustration felt by women trapped by social structures in "The Stenographers" and "Portrait of Marina"; the isolation of a dream world; the use of travel in and for her writing; and love as a prison or a cage in, for example, "The Condemned."
C81 [Weaver, Robert, and William Toye.] "P. K. Page." In The Oxford Anthology of Canadian Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 387-88.
This note contains biographical information, and it traces Page's poetic career from "early poems of social protest" to themes of "alienation, notably in some remarkable miniature biographies," and also of "childhood, dreams, love (and self-love), innocence and experience, illusion and disillusionment, strangeness and terror" in poems replete with "metaphysical imagery." The authors quote Page's "Traveller, Conjuror, Journeyman" (B309).
C82 W[oodcock]., G[eorge]. "Page, P. K. (1916- )." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 240-41.
Page's "early verse was largely dominated by themes of social protest and technically influenced by the English poets of the thirties. By the end of the forties she became more concerned with isolated human situations." She has "moved towards a mystical concern for the view out from the mind towards images that suggest the way of liberation from the alienated, prisoned self. Technically her poetry has moved towards an ever-greater purification of line. It is characterized by accuracy of rhythm, period, and internal echo; it is also dense with metaphysical intent...." Woodcock includes bio-bibliographical material.
C83 Jones, D. G. "Myth, Frye and Canadian Writers." Canadian Literature, No. 55 (Winter 1973), p. 11.
The article contains a brief reference to Page in the context of Canadian poetry coming of age: "P. K. Page struggles against a metallic logos, an impersonal technical and rational order whose perspective must be resisted within as well as without, and for some years she is silent, preferring to map her own body's chart in a graphic line less prejudiced by analytic reason."
C84 Anderson, Patrick. "A Poet Past and Future." Canadian Literature, No. 56 (Spring 1973), pp. 13-14.
The article is Anderson's response to Wynne Francis and Michael Gnarowski's descriptions of the rivalry between Preview and First Statement (C43 and C45). He points out inaccuracies of fact and challenges their impressions of his own poems and those of the poets published in both magazines. Anderson mentions Page's contributions to the magazine in passing and how she along with the others wrote poems based on her own immediate experiences and milieu. He cites As Ten, as Twenty as a significant collection of poems from the 1940s.
C85 Colombo, John Robert. "Page, P. K." In his Colombo's Canadian Quotations. Edmonton: Hurtig, 1974, p. 461.
Colombo cites a passage that Merle Shain quoted in Chatelaine, October 1972 (C72).
C86 Davey, Frank. "P. K. Page." In his From There to Here: A Guide to English-Canadian Literature since 1960. Vol. II of Our Nature--Our Voices. Erin, Ont.: Porcepic, 1974, pp. 231-35.
Page rejects the physical world although it can still symbolize "worlds less corrupt and inconstant than itself." In her poems Page attempts to transform the tumult of day-to-day experience into "the visually patterned stillness of art." In Page's work, life on earth is painfully fallen and man is dragged into it "like a fish into air." The poems explore varieties of escape such as childhood innocence ("illusory immortality"), or the use of imagination to regain childhood simplicity. There are dangers in this quest for innocence because we can wind up deceived. Nevertheless, Page's dominant theme and technique is "the reduction of experience into simple, artistic patterns." Two other ways of escaping the oppressive mortality are "retreat into subconscious reverie and flight into a realm of divine, pre-lapsarian innocence." The sea represents the unconscious where one is freed and whole; heaven is less approachable, but glimpsed in images of white and gold suns and sunflowers. Page is "one of the most readable of the various 'anti-life' poets of twentieth-century Canadian poetry." Her symbolism is consistent and straight-forward and her syntax is free of rhetoric or pretentious complication.
C87 Jones, D. G. "Cold Eye and Optic Heart: Marshall McLuhan and Some Canadian Poets." Modern Poetry Studies, 5, No. 2 (Autumn 1974), 175-87.
Poems by Page, Margaret Avison, and Margaret Atwood which contain images of seeing, cameras, and eyes are analyzed in the light of Marshall McLuhan's notion that artists now try to articulate a "world that has been suppressed by the hegemony of the eye." Page's work explicitly denounces the "imperial status of the eye" especially in poems where the adult world is associated with bright light, a glare, and the camera eye. In "The Foreigner," "Images of Angels," "Journey Home," "The Permanent Tourists," "The Landlady," and "Element," the adult or "upper world of light and air is hostile, demonic," and its light is mechanical, metallic, an aggressive instrument of power; it is not spiritual. The recovery of the lower, "darker" world, often associated with childhood and water, "requires an imaginative revolution, a new perspective which is non-linear, multi-dimensional, a synthesis of all the senses." We should seek "an inner focus...the focus of the total I." This kind of response is found in "Personal Landscape," "After Rain," and "Cry Ararat!".
C88 Sandler, Linda. "A Report on the Handicraft School of Writing." Books in Canada, Nov. 1974, pp. 40-41.
In this report Sandler mentions that Page talked about the creative functions of the brain and directed "language games related to the sound qualities of poetry." She also gave an assignment which involved unifying a group of poems into a book.
C89 Gustafson, Ralph. The Penguin Book of Canadian Verse. 2nd rev. ed. Harmondsworth, Eng.: Penguin, 1975, p. 330.
A short biographical note.
C90 "Page, P(atricia) K(athleen) (Judith Cape), 1916- ." In Contemporary Authors: A Bio-Bibliographical Guide to Current Authors and Their Works. Ed. Clare D. Kinsman. Vols. LIII-LVI. Detroit: Gale, 1975, 456. Rpt. Ed. Ann Evory. New Revision Series. Vol. IV. Detroit: Gale, 1981, 469-70.
Bio-bibliographical data.
C91 Geddes, Gary. "The Shapes of Our Content." Laurentian University Review/Revue de l'Universite Laurentienne, 8, No. 1 (Nov. 1975), 1-5.
Geddes argues that we should not assume that our literary perspectives in Canada are homogeneous, and that our strongest works of art are not national, but international and regional. Page's work has the best attributes of the two latter in that they are both universal and local. Geddes asks what influence topology has on art forms, an artist's sense of shape and proportion. He quotes Page's remarks in The Canadian Forum on her experience when she entered a cathedral in Brazil. The task of criticism in Canada, then, will be "to create a new theory of forms."
C92 Colombo, John Robert. In his Colombo's Canadian References. Toronto: Oxford Univ. Press, 1976, pp. 212, 397-98.
Bio-bibliographical data.
C93 Farley, T. E. Exiles and Pioneers: Two Visions of Canada's Future 1825-1975. Ottawa: Borealis, 1976, pp. 135, 149, 156.
Farley makes brief references to Page's "dreamlike voice." Hers is a voice of exile withdrawing into "a world of fantasy" or surrealistic dream. Figures seem to be somnambulists. He compares Page's figures to Laura Riding's "Tillaquils" or pale creatures in limbo who do not want to be born into life. "Implacable destiny diminishes the human heart."
C94 [Head, Jim, Don Laing, and Glenn Miller.] "Adolescence, P. K. Page." In Signatures: Poems of Canada. Ed. Jim Head, Don Laing, and Glenn Miller. Don Mills, Ont.: Nelson, 1976. Vol. III, T3-T4.
A brief bio-bibliographical note, some teaching suggestions and questions on the poem "Adolescence" are included. There is also a short analysis of the poem in which the authors observe a change of language in the last stanza from dreamlike to gentle to harsh and shrill as innocent lovers are observed by an adult.
C95 [Head, Jim, Don Laing, and Glenn Miller.] "Blowing Boy, P. K. Page." In Signatures: Poems of Canada. Ed. Jim Head, Don Laing, and Glenn Miller. Don Mills, Ont.: Nelson, 1976. Vol. III, T7-T8.
A brief analysis of the poem "Blowing Boy" as a "picture of adolescent confusion" where the boy is "only a facsimile of a real person." The authors also include teaching suggestions and questions.
C96 McCullagh, Joan. Alan Crawley and Contemporary Verse. Foreword Dorothy Livesay. Vancouver: Univ. of British Columbia Press, 1976, pp. 2, 5, 7, 13, 17, 19-20, 21, 26, 28, 32, 46; correspondence with Alan Crawley: 10-11, 27, 38, 39, 43, 53, 57; works: As Ten, as Twenty, 11, 21, 38-39; "Blackout," 19; "The Crow," 19; "Ecco Homo" 19; The Metal and the Flower, 39; "Morning, Noon and Night," 20; "The Permanent Tourists," 31, 39; "Photographs of a Salt Mine," 39; "Portrait of Marina ," 39; "Puppets," 31, 39; "Round Trip," 11, 18; and "The Traveller," 18, 19-20.
This book traces the history of the poetry quarterly Contemporary Verse by presenting the letters and articles and influences of its editor Alan Crawley. Throughout the study Page is quoted on a variety of subjects: her indebtedness to Crawley for giving her an encouraging start; how she made changes in her poem "Round Trip" at his suggestion; her doubts about her 1950-51 poems (and Irving Layton's strong criticism of them); her reluctance to give a publisher prior rights to eightyfour lines of poetry for a new anthology. The book also contains brief passages describing and assessing Page's early poems and her attempts to assimilate foreign influences "into a Canadian consciousness and voice," as she moves from a "foreign idiom" to a less intellectual, more conversational tone. By the end of the war "Page had evolved a distinctive poetic voice arising naturally out of Canadian experiences--an introspective voice which she kept because she was never comfortable with the political orientation of the other Preview writers."
C97 New, William H. "Fiction." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 234.
The Realism of the 1950s "tried to demonstrate the psychological dilemmas behind political choice rather than confront political issues," and P. K. Page was one of the few women writers who wrote this way.
C98 "Page, P. K. 1916- ." In Canadian Fiction: An Annotated Bibliography. Ed. Margery Fee and Ruth Cawker. Toronto: Peter Martin, 1976, pp. 88, 161.
Brief bibliographical data with a synopsis of The Sun and the Moon.
C99 Ross, Malcolm. "Critical Theory: Some Trends." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 169.
John Sutherland in the 1960s found "a new dimension of self-searching and moral commitment, essentially religious, in the work of writers as various as P. K. Page, Earle Birney, Dorothy Livesay and F. R. Scott."
C100 Woodcock, George. "Poetry." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 287, 297, 299, 310, 311.
Page is mentioned as a poet who has been faithful "to the subtler dictates of the inner ear," rather than to experiments in form. She is also an example of how some poets in Canada tend to fall into silence and then burst into activity with transformed perceptions in middle age. Cry Ararat! Poems New and Selected re-established Page as an important poet. Her new poems are "increasingly metaphysical in quality," the phrasing is "honed down to a fine purity...."
C101 Namjoshi, S. "Double Landscape." Canadian Literature, No. 67 (Winter 1976), pp. 21-30. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Sharon R. Gunton. Vol. XVII. Detroit: Gale, 1981, 377-78.
Namjoshi establishes a dichotomy between the "private world" and the "external world." The subjective, private "landscape" may "correspond to a nightmare, a wishful dream, a pleasant memory, an artificial reality or a genuine perception." Page chooses neither this world nor the external world which is often a "reality of false conventions." The two worlds are often represented by summer and winter. Mediation between these two worlds is the artist's (or painter's or gardener's) task. So Page's first preoccupation is not with oppressed individuals or minority groups, nor with political solutions (the poet is middle class at heart), but with a vision of harmony between the two landscapes. "Cry Ararat!" is the "most successful effort at bringing the private world and the external world into alignment."
C102 Livesay, Dorothy. "Canadian Poetry and the Spanish Civil War." The Social and Cultural Aftermath of the Spanish Civil War, Bethune College, York Univ., Downsview, Ont. 10-14 March 1976. Printed in CV/II, 2, No. 2 (May 1976), 15, 16.
Livesay cites Page's "Poem [Let us by paradox ...]" as an example of poems written by women after the defeat of Spain, which are "haunted by that disaster." Page and Miriam Waddington have "each written more than a half dozen poems with roots in the Spanish experience." The Spanish Civil War carried "reverberations" to Canadians, and Page is among those cited who "carried the message further through the Second World War."
C103 Woodcock, George. "Of Place and Past." The Times Literary Supplement [London], 14 May 1976, p. 575.
Woodcock lists Page as a Modernist whose influence was that of the English 1930s, a poet who was essentially derivative of the New Signatures poets. In the 1960s the climate for poetry changed radically and the "elder" poets changed with it-including Page who has emerged with a new intensity and sharpness "irradiated by her Sufi philosophy."
C104 Mallinson, Jean. "Moving Farther North." CV/II, 2, No. 4 (Dec. 1976), 45-46.
In a discussion of expatriate writers, most of whom, like Page, moved southwards, Mallinson discusses the effect of "tropical luxuriance, organic richness" on their images. Page's images reflected the Brazilian abundance. Heather Spears, in contrast to Page, moved north and her images became more stark.
C105 Atwood, Margaret. "Canadian Monsters: Some Aspects of the Supernatural in Canadian Fiction." In The Canadian Imagination: Dimensions of a Literary Culture. Ed. and introd. David Staines. Cambridge, Mass.: Harvard Univ. Press, 1977, pp. 106-14. Rpt. in Second Words: Selected Critical Prose. By Margaret Atwood. Toronto: House of Anansi, 1982, pp. 238-44.
In an examination of the supernatural happenings in Canadian fiction, rare as they are, Atwood analyzes such works as Brown Waters, The Double Hook, Tay John, and Page's The Sun and the Moon. After a brief synopsis of the plot, Atwood points out that Kristin becomes a soulless automaton who survives but without joy or pain after she marries Carl. She is absorbed by the trees and his talent is destroyed, so he leaves her. Kristin has been swallowed back into nature because she is really a dryad, a demigod bridging the natural world, the human world, and the supernatural world.
C106 McClung, M. G. Women in Canadian Literature. Preface George Woodcock. Women in Canadian Life. Toronto: Fitzhenry & Whiteside, 1977, p. 40.
This is a brief outline of Page's publishing career.
C107 "Page, Patricia Kathleen." International Who's Who in Poetry. 5th ed. (1977).
Brief bio-bibliographical data.
C108 Frayne, Helen. "On Quebec: An Interview with Louis Dudek." Anthology. CBC Radio, 10 July 1977. Printed in CV/II, 3, No. 3 (Jan. 1978), 38.
Dudek says "Souster, myself, Miriam Waddington, P. K. Page, all of us were involved in a kind of political thinking which derived from Stephen Spender, W. H. Auden and the old left."
C109 Dudek, Louis. Selected Essays and Criticism. Ottawa: Tecumseh, 1978, pp. 45, 48, 60, 62, 64, 81, 124, 267, 302.
Passing references to Page locate her with the Montreal poets of the 1940s, and in brief asides Dudek names her as a member of a "constantly over-rated group called English Traditionalists" and as a poet who writes of "Eclectic despair, both secular and religious."
C110 Geddes, Gary, and Phyllis Bruce. "P. K. Page." In 15 Canadian Poets Plus 5. Ed. and preface Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1978, pp. 404-05.
Geddes and Bruce provide some background information on Page and trace her development as a poet and an artist. Her early poetry "explores the contradictions which underlie everyday experiences" in a "richly textured and highly allusive style" full of irony and paradox. Page later shifts her attention "from social and political surfaces to internal psychological states." Travel to foreign lands and languages forced her into drawing. Later her poetry explores "the nature of visual perception"; and the unusual perspectives and perceptual elements play a very important part in her work. Art becomes a "technique of transformation or metamorphosis" that can take us "to some unseen centre."
C111 Mathews, Robin. Canadian Literature: Surrender or Revolution. Ed. Gail Dexter. Toronto: Steel Rail, 1978, p. 151.
In the chapter entitled "The Struggle for Voice in Canada," Page is mentioned as a member of the 1940s addition to the McGill Movement--a group which did not develop F. R. Scott's social consciousness so much as express opposition to the liberal capitalist system in personalist terms.
C112 Stevens, Peter. "Page, Patricia Kathleen (1916- )." In his Modern English-Canadian Poetry: A Guide to Information Sources. Vol. XV of American Literature, English Literature and World Literatures in English. Detroit: Gale, 1978, pp. 2, 14, 34, 39, 66, 136-38.
Stevens includes brief biographical data and a paragraph describing the kinds of poetry Page writes. There is also a listing of her books up to 1973 and a listing of ten reviews and articles up to 1971.
C113 Rooke, Constance. "P. K. Page: The Chameleon and the Centre." The Malahat Review, No. 45 (Jan. 1978), pp. 169-95.
Starting with a brief summary of the themes in The Sun and the Moon Rooke outlines the themes raised by the central poems in Page's canon. Rooke provides a matrix of ideas taken from the Sufi philosophy which apparently influences the development of Page's thought and provides her with her "insistent images of travel, vision, sleep and water," as well as her sense of community versus isolation, gardens, homecoming, expulsion, entrapment, "efforts to penetrate rock, to move through reconstructed air, to enter the sea, memory and imagination, the language of the eye." The early socialist perspective in Page's work could be seen "as a false start," but it did root her later mysticism in ordinary reality and we can always sense the sympathetic, practical woman in the aspiring mystic. In some poems Page describes the paralysis and passivity of people caught in the social structure and yearning for release which they think will be supplied by romantic love. The outcast, imprisoned, enslaved, freakish, or ill are represented in other poems. These poems are analyzed in terms of a pattern where a character returns to a home or land he has been dreaming about, but which turns out to be an illusion. The "proliferation of selves," the dream as a lie, the damage inflicted by one human imposing his version of reality on another, are all sub-themes in these poems. In another group of poems, childhood is a kind of "touchstone for wonder," and, as the children grow up, vision and imagination collapse and "tears mark the transition." In the poems about love the male is associated with something closed and hard. The female is associated with the garden. The garden is also associated with the human's final integration with the land and this is achieved by love. But for the metaphorical garden to be ordered and radiant "it will be necessary to defeat" what Page has called "the tyranny of subjectivity."
C114 Sullivan, Rosemary. "A Size Larger Than Seeing: The Poetry of P. K. Page." Canadian Literature, No. 79 (Winter 1978), pp. 32-42. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticsm of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Sharon R. Gunton. Vol. XVIII. Detroit: Gale, 1981, 378-80.
Page's early poems show the image-making process becoming almost too seductive since images proliferate and take over the poems for their own sake. Metaphors are the poet's best tools, but they can "reverberate indefinitely" and lead language away from insight toward illusion. Page explores both the powers and the risks of imagery in such works as "Vegetable Island," The Sun and the Moon, and the pivotal piece "After Rain." The poet is invaded by sensory data from the external world and she has to control it through technique while at the same time making sure that this control is neither static, nor evasive. Page "sensed the need to convert image into symbol" and thus contact "another order of perception altogether, 'larger than seeing.'" Page has increasingly explored "the discrepancy between the ideal world of the imagination, the potent world of dream, and the real world of the senses...." Sullivan examines the polarized images in "Stories of Snow" and notes that "Cry Ararat!" attempts to express the "total I," but fails, while "Another Space" expresses it perfectly.
C115 Marshall, Tom. Harsh and Lovely Land: The Major Canadian Poets and the Making of a Canadian Tradition. Vancouver: Univ. of British Columbia Press, 1979, pp. xiii, 57, 65, 76, 83, 107, 108-11, 112, 119, 123, 125, 154, 171, 179.
Page is classified as a "poet of dream" rather than a "poet of fact." She was influenced by nursery rhymes and Dylan Thomas. Page is also described as having "turned from a species of Marxism to a religious exploration and an extraordinary stress on 'vision' that links her to Klein and Avison." Page's interior universe swings between Inferno and Paradise. The former vision contains social concerns, the latter contains "a mandala expressmg harmony and wholeness." "Photos of a Salt Mine," "Another Space," "Arras," and "Stories of Snow" explore the landscape behind the eyes which express the polarities of her "vision." She sometimes links her compassion for the alienated with a "too decorative metaphoric busyness and much alliteration." Her style more recently has become sharper, cleaner, more refined. Her metaphors are now "more consistently and simply symbolic," rather than purely decorative. She is "cool and contemplative; sometimes her sense of cosmic harmony, enhanced by the study of Sufism, may dispose rather too easily of the gritty social problems," but her work allows us entry into the imaginary world of the visionary.
C115a Moisan, Clement. Poesie des frontieres: etude comparee des poesies canadienne et quebecoise. Collection constantes, No. 38. Quebec: Hurtubise HMH, 1979, pp. 15, 72, 91, 99-115, 152, 239n., 299, 300, 302, 324, 327. Rpt. A Poetry of Frontiers: Comparative Studies in Quebec/Canadian Literature. By Clement Moisan. Trans. George Lang and Linda Weber. Victoria: Porcepic, 1983, pp. X, 34, 53-64, 91, 171, 190, 193, 206-07.
"P. K. Page's development parallels Anne Hebert's: after a period of silence and powerlessness, the poet voices her anxiety. Her poetry contributes to a new self-awareness while at the same time it expresses alarm. The days are over when the poet could masochistically cherish solitude...." Both are novelists, short story writers, and have worked for the National Film Board. The Preview Group "looked on poetry as a social struggle." They also examined "the relationship between poetic writing and the pictorial arts," as did Hebert. Page and Hebert have "thematic and linguistic parallels" and "have a surprisingly similar conception of what poetry should be": "discovery and creation of the universe, an awakening of all of our faculties. The vital powers of poetry generate emotions and images. . . . Both poets concentrate on stretching language to the breaking point." Page "pushes experimentation to extremes, where imagery becomes absurd...." Moisan examines "two themes: death; and the victory over death or the affirmation of life," including "love, silence (and its opposite, la parole) and the revolt against and the wish for annihilation.... The theme of death takes the poetic form of silence.... Both poets speak of enclosure.... Through love, the poet finally attains the ability to communicate with another being, and eventually, with the universe. Both poets share the quest for innocence, beauty and love; both want to transcend silence, despite how difficult this is in the absence of real communication among people.... But love is only possible after the underground experience of revolt. This revolt is expressed through language," for Hebert, in "images of mutilation and of physical dismemberment," for Page, in "images of metamorphosis." Some bibliographical data is provided at the end of the book.
C116 Pacey, Desmond. Essays: Canadian Literature in English. Powre above Powres, No. 4. Mysore, India: Centre for Commonwealth Literature and Research, Univ. of Mysore, 1979, pp. 118-19.
Page's "propaganda poetry" merely parodies W. H. Auden. "But when she exercised her power of empathy . . . she found a manner and an effect which was all her own and deeply moving." Her subjective poems hold "fascinating images." Pacey laments Page's move from poetry to painting as a "loss to Canadian letters.... Her poems were extremely intense, often hovering...on the verge of hysteria, and expressed, in sometimes weird but always suggestive images, the mood of private and public anxiety which has marked the last quarter century. Her characters, fragile and vulnerable, grope for a lost innocence and an elusive beauty in a landscape of nightmare."
C117 Woodcock, George. "Page, P(atricia) K(athleen)." In Great Writers of the English Language: Poets. Ed. James Vinson. New York: St. Martin's, 1979, pp. 751-52.
Bio-bibliographical information with a short note on the development of Page's career as a writer. Her early poems are concerned with social protest, but at the end of the 1940s her poems were terse, ironical statements on individual predicaments, mingling satire and compassion. Her latest poetry is moving towards "metaphysical intents" and an almost mystical concern with "images that promise integration."
C118 Mallinson, Jean. "Retrospect and Prospect." West Coast Review [Simon Fraser Univ.], 13, No. 3 (Feb. 1979), 8-11.
This is a review article which begins with a description of Page's mode of composition. Page selects details or fragments, not for what they are, but for their iconic or emblematic value. In the early poems, particularly, the details are "heraldic" and the poems announce or declare. Also, each poem, based on Wallace Stevens' "symbolistic assumptions about correspondences between language and the world, and on a scrupulosity of language derived from imagism," "constructs an occasion which came into being with the poem." There are two, or possibly three phases in Page's stylistic development. The first style was characterized by "rhetorical complexity, declarative bravura, and the devising of symbolic structures which tend to distance her subject." The voice is that of an objective observer and the poems are private, but not necessarily personal. Her more recent poems indicate her flexibility and contemporary sensitivity. She "moved in the direction of greater austerity, more transparency of language" and simplicity. Her style is more colloquial, familiar, and the poet is more of a participant. It depends less on "the rhetorical embellishment of symbolic structures" and more on "a poetics of austerity, nuance," as seen in the series entitled "Leviathan in a Pool."
C119 Preston, Michele Valiquette. "The Poetry of P. K. Page: A Checklist." West Coast Review [Simon Fraser Univ.], 13, No. 3 (Feb. 1979), 12-17.
Bibliographical data on Page's poetry, complete to 1978 and cross-indexed.
C120 Rooke, Constance. "Approaching P. K. Page's 'Arras.'" Canadian Poetry: Studies, Documents, Reviews, No. 4 (Spring-Summer 1979), pp. 65-72. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Sharon R. Gunton. Vol. XVIII. Detroit: Gale, 1981, 380-81.
This essay contains a detailed analysis of "Arras" and a less detailed analysis of "Another Space." Rooke argues that the peacock or royal denizens of the arras are not sinister, as some critics suggest, but rather the representatives of "the perfection of human life" which the poet seeks in much of her work. She wants to join those figures in order to be like them. The real enemy in the poem is anything which impedes movement in that direction. Page "will not surrender her right to a place in the garden." The analysis draws upon the quality of dreams to account for the sense of dislocation, sudden cries, shifts of perspective, divisions of personality, and a pervasive use of covert sexual imagery. Finally vision and love are equated when the "peacock (gloriously male) enters both arras and woman though the poet's eye" affecting a transformation in the poet.
C121 Schoemperlen, Diane. "Four Themes in the Poetry of P. K. Page." The English Quarterly, 12, Nos. 1-2 (Spring-Summer 1979), 1-12.
Page explores the modern human condition in an urban landscape by fusing individual psychology and the forces that shaped that psychology. The individual is seen as trapped in a world he never made. Four major themes express this condition: "isolation and frustration, love, self-love, and dream." With the first theme, the individual is isolated, and attempts to make meaningful contact with other people are frustrated because they preserve their privacy. The individual is isolated and any attmpt to make meaningful contact with other people is frustrated because each character is "caged by his own consciousness." He hears "the forbidden message" of freedom at first, but gradually he turns away from it and towards dreams of communion. Before the psychological imprisonment of adulthood, children were "innocent and free, at one with God," but that "state cannot last because it is an illusion, immature and fantastic." In the second theme, escape can be found in love, but, in the modern world, love too often becomes self-love or mechanical love and people are shown looking for love in all the wrong places. The theme of self-love is found in poems which trace the consequences of isolation as a self-imposed condition. As a way out we dream of completion. The failure of the dream is also discussed.
C122 Scott, F. R., Bruce Ruddick, Neufville Shaw, and Margaret Surrey. "Three Documents from F. R. Scott's Personal Papers. Four of the Former Preview Editors: A Discussion." Ed. D. M. R. Bentley and Michael Gnarowski. Canadian Poetry: Studies, Documents, Reviews, No. 4 (Spring-Summer 1979), pp. 98, 103, 108, 117, 118.
The authors discuss the founding of Preview, the influence of Patrick Anderson, and related topics. Here and there Page's contribution to the magazine is mentioned--i.e., when she joined the group, where Anderson met her, her quiet and unassuming, yet influential, presence, her move to Vancouver.
C123 Gottlieb, Lois C., and Wendy Keitner. "Bird at the Window: An Annotated Bibliography of Canadian Fiction Written by Women 1970-1975." The American Review of Canadian Studies, 9, No. 2 (Fall 1979), 33.
Contains a synopsis of The Sun and the Moon.
C124 Anderson, Patrick. "Introduction to the Kraus Reprint Edition." In Preview. Millwood, N.Y.: Kraus Reprint, 1980, pp. iii-vi.
Anderson outlines the reasons for starting Preview in March 1942 and the way it began. Page had published a novel "she no longer wished to acknowledge" and was working in an office in Montreal when she joined the group. Anderson points out that Page presents her stenographers or typists with compassion and psychological insight, but she also discusses these types of characters in "sociological prose." She is also more critically abrasive in "Official Poetry" than many of her contemporaries.
C125 Birney, Earle. "As I Remember. 1946: JanuarySeptember," "As I Remember. 1947: AprilSeptember," and "As I Remember. 1948: MarchJune." In his Spreading Time: Remarks on Canadian Writing and Writers. Book 1: 1904-1949. Montreal: Vehicule, 1980, pp. 80, 10l, 113. Rpt. (revised--"Struggle against the Old Guard: Editing The Canadian Poetry Magazine") in Essays on Canadian Writing, [Earle Birney Issue], No. 21 (Spring 1981), pp. 12, 22-23, 28-29. Rpt. in Perspectives on Earle Birney. Canadian Perspectives, No. 3. Downsview, Ont.: ECW, 1981, pp. 12, 22-23, 28-29.
Birney makes references to Page's dislike of the Canadian Authors Association and to how she and sonle others were beginning, in March to June 1948, to put together an organization tentatively called The Canadian Writers' Committee.
C126 Birney, Earle. Spreading Time: Remarks on Canadian Writing and Writers, Book 1: 1904-1949. Montreal: Vehicule, 1980, pp. 114, 138-39.
Birney's memoir contains some passing references to his admiration of Page's poems.
C127 Colombo, John Robert. "The 1979-80 Awards Dinner Address." Ecrits Heritage Writing. London: The London Free Press, 1980, p. 6.
Colombo briefly refers to Page's poetry and his initial enthusiasm and later disappointment in Cry Ararat! Poems New and Selected.
C128 King, Bruce. The New English Literatures: Cultural Nationalism in a Changing World. London: Macmillan, 1980, pp. 199, 213.
"The adoption of a modern style" in Canadian verse was necessary before poets like Page could "find their own voices." King also quotes from Margaret Atwood's interview in Eleven Canadian Novelists, in which Page notes that when she started writing there was no Canadian tradition, so they turned to W. H. Auden.
C129 Woodcock, George. The World of Canadian Writing: Critiques & Recollections. Vancouver: Douglas & McIntyre, 1980, pp. 13, 28, 252, 257, 270, 272.
In passing references to Page, Woodcock describes her variously as coming nearest to the English tradition, as being published by Blackfish as well as by Toronto publishers, and as a friend of A. M. Klein.
C130 Woodcock, George. Taking It to the Letter. Montreal: Quadrant, 1981, letters to Page: pp. 12, 74, 99, 114, 147; references to Page: pp. 22, 45, 61, 63, 83, 155.
This collection of Woodcock's letters includes five written to Page between 1965 and 1980. Woodcock invites essays and poems from Page and says that she is the poet "with whom [he has] the closest affinity of feeling." In passing references to Page in letters to others, Woodcock reiterates his admiration for both Page and her poems.
C131 Precosky, Don. "Preview: An Introduction and Index." Canadian Poetry: Studies, Documents, Reviews, No. 8 (Spring-Summer 1981), pp. 74-89.
In the Introduction Precosky offers a brief history of Preview magazine, its four goals, and outlines the rivalry between Preview and First Statement. Page's involvement with Preview is mentioned; her essay on Canadian poetry is quoted as an example of Preview's break with the Romantic-pastoral tradition; and her poem "Bed-Sitting Room" is used as an example of how some of the Preview poets wrote poems too full of imagery while lacking intelligent statement. There follows an Index of Preview "arranged in one alphabet and [including] author and title entries."
C132 Wigod, Rebecca. "P. K. Page and the Circle of Light." Times-Colonist [Victoria], 27 Nov. 1981, p. 27.
This article describes an interview with Page and quotes passages on her writing process, her early years in Victoria, and her belief in the existence of perfection. A brief summary of images and colours in Page's work is given as well as definitions of the word "sublime" and the transformation from solid or liquid to gas.
C133 Atwood, Margaret. Introduction. In The New Oxford Book of Canadian Verse: In English. Ed. Margaret Atwood. Toronto: Oxford Univ. Press, 1982, p. xxv.
Atwood refers to Page as a "dazzling technician and a tranced observer who verges on mysticism."
C134 New, W. H. "Canada: Introduction." Journal of Commonwealth Literature, 17, No. 2 (1982), 66.
Page's Evening Dance of the Grey Flies "draws upon the psychology of Ornstein and the double consciousness of the twin-hemisphered brain..." which articulates a "dance" between "pure . . . feeling" and "verbal, mathematical" language.
C135 Orange, John. "P. K. Page 1916- ." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto / Downsview, Ont.: General/ECW, 1982. Vol. I, 315-16.
This note on Page concentrates on her theme of transformation, her central images and symbols, and her concern with the importance of the imagination. Her ambiguity, the influences on her poetry, and the stylistic development in her later works are also traced. There is also a short bibliography.
C136 Vaneste, Hilda M. C. Northern Review, 19451956: A History and an Index. Ottawa: Tecumseh, 1982, pp. 15, 17, 19, 29, 57n., 59, 62, 63, 72, 75, 81, 85, 188, 253.
Vaneste traces the debate between A. J. M. Smith and John Sutherland on the Canadian tradition and mentions each critic's assessment of Page's work. She also traces Page's involvement with Preview and Northern Review.
C137 Woodcock, George. "Canadian Poetry: An Introduction to Volume One." In Canadian Poetry. Ed. Jack David and Robert Lecker. New Press Canadian Classics. Toronto/Downsview, Ont.: General/ECW, 1982. Vol. I, 25, 27, 28.
Page is listed among Modernist poets of the Preview group, who, like other groups, associated for convenience, since it was difficult to get work published in "ordinary periodicals or by ordinary publishers." Woodcock notes that each poet was "rebelling against conventional poetics" and expressing "a personal vision," although there was also a "vague cultural nationalism" endemic in the groups. P. K. Page, Earle Birney, and Dorothy Livesay gained a "second poetic wind" in the 1960s and 1970s. Page's movement "towards an extraordinary combination of verbal economy and visionary intensity is especially striking."
C138 Woodcock, George. "Canadian Poetry: An Introduction to Volume Two." In Canadian Poetry. Ed. Jack David and Robert Lecker. New Press Canadian Classics, Toronto/Downsview, Ont.: General/ECW, 1982. Vol. II, 13, 17.
Page and others are "best known for works done in their brilliant second careers in the 1960s and 1970s." Woodcock notes the influence of Eliot, Yeats, and Auden on Page's work.
C139 Woodcock, George. Northern Spring: The Flowering of Canadian Literature in English. Introd. Victor Howard. Images of/du Canada, No. 1. Washington, D.C.: Canadian Embassy, 1982, pp. 4, 6.
Page is listed among the younger Montreal poets of the 1940s. Her travels abroad lead to "a remarkable second career" as a poet after her return.
C140 Rogers, Linda. "Scared?". Rev. of NOT TO BE TAKEN AT N.I.G.H.T: Thirteen Classic Canadian Tales of Mystery and the Supernatural, ed. John Robert Colombo and Michael Arnason. Canadian Literature, No. 94 (Autumn 1982), p. 166.
Rogers wonders "...why are P. K. Page and Ethel Wilson, who are not represented by their best work, the only women here?" Page's "The Woman" fails as mystery.
C141 Lane, M. Travis. "Contemporary Canadian Verse: The View from Here." University of Toronto Quarterly, 52 (Winter 1982-83), 180.
In an argument against Frank Davey's perspective in From There to Here: A Guide to English Canadtan Literature since 1960 (C86), Lane notes "the literal meanings of sensuous, lifeaffirming, social-value-and-community-affirming formal poetry" of Page, among others.
C142 Bennett, Donna, and Russell Brown. "P. K. Page, b. 1916." In An Anthology of Canadian Literature in English. Ed. Donna Bennett and Russell Brown. Vol. II. Toronto: Oxford Univ. Press, 1983, 4-5.
The note on Page contains a biographical and bibliographical sketch and refers to the most influential writers in the formation of her poetic tradition. Her poetics are "markedly Platonic" and her attitude "Delphic" in that she believes that the poem chooses the poet. The poet is a dreamer with "access to another dimension" in which she finds scattered parts of her poem which she assembles "in the real world." Her poetry describes characters on a journey for the ideal world, but they "exist in a fractured reality controlled by the poet's magic vision." Yet Page's poems "are neither vague nor abstract" because she integrates the worldly and the mystical "by means of visual cues" and dissolves one image into another so as to alter the reader's notions of reality.
C143 Hosek, Chaviva. "Poetry in English 1950-1982: 2." In The Oxford Companion to Canadian Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1983, p. 663.
Hosek mentions Page's Cry Ararat! Poems New and Selected in one paragraph and points out that her use of imagery is crisper than in her earlier work and her distance from her subjects and her wit are still very evident.
C144 Ricou, Laurie. "The Naive Eye in the Poetry of Dorothy Livesay, P. K. Page, and Miriam Waddington." In Voices from Distant Lands: Poetry in the Commonwealth. Ed. and introd. Konrad Gross and Wolfgang Klooss. Wurzburg, W. Ger.: Konigshausen und Neumann, 1983, pp. 109, 111-12, 113.
In a study of poets who have written poems which represent a child's perception, Ricou discusses "Stefan" as a description of "a state of apprehension unmediated by language." He cites "Only Child" and "Stories of Snow" as containing imagery and metaphors for intuitive understanding and "pre-linguistic, even pre-sensory perception" where "something invisible becomes visible." The children described possess a "surer innocence which somehow knows a purer truth."
C145 Woodcock, George. "Page, P. K." In The Oxford Companion to Canadian Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1983, pp. 630-32.
Woodcock outlines some biographical information and repeats much of his assessment of Page's work published in his various earlier bibliographical studies (C63, C82, and C117). He adds a summary of his review of Evening Dance of the Grey Flies (D47).
C146 N[ew]., W. "Re: Forming Giants." Editorial. Canadian Literature, No. 97 (Summer 1983), pp. 2-3.
New cites a passage from "Cook's Mountains" to exemplify and explain the "terrible tensions between mind and matter" that "animate art and language alike."
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Part 2 Works On P.K. Page: Articles and sections of books, theses and dissertations, interviews, poems dedicated to Page, audio-visual material, photographs and awards and honours; Interviews
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C155 Webb, Phyllis. "Poets Here, Now and Then." Interview with P. K. Page and A. J. M. Smith. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 16 July 1967.
Page talks briefly about Preview and her contributions to that periodical. She did not turn away from poetry, rather "...poetry left me.... It happened gradually over a period of time." She attributes the shift in her creative work to "living in foreign countries and learning new languages." The "tremendous cultural shock" of Brazil brought an end to her poetry and inspired her to begin drawing under the name of P. K. Irwin. Page began writing as a child and became "intensely serious" about poetry in her late teens. Her "revolutionary move" to Montreal and her association with people connected with Contemporary Verse brought Page "in touch with a lot of ideas that I'd never encountered before." She recalls that Patrick Anderson was "a kind of pivotal point," a "central maypole." Page also reads several poems (B337, B346-B349).
C156 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Milton Acorn, Margaret Atwood, Margaret Avison, Earle Birney, George Bowering, Victor Coleman, Leonard Cohen, Joan Finnigan, John Glassco, George Jonas, Irving Layton, Dorothy Livesay, Gwendolyn MacEwen, Eli Mandel, Alden Nowlan, Michael Ondaatje, P. K. Page, Al Purdy, James Reaney, and A. J. M. Smith. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 May 1971.
Part I of the seven-part series. Anderson discusses the creative process with the above poets, the way they write, and what they do when they suffer dry periods. Page writes about children and adolescence because "...it's the unawakened stage...and it's the awakening process that interests me more than anything else in life." Both poetry and drawing are important parts of her life. While creativity is essential, "...one can be creative in an enormous number of ways."
C157 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Margaret Atwood, Fred Cogswell, John Robert Colombo, Alan Crawley, Louis Dudek, Wynne Francis, Northrop Frye, Michael Gnarowski, David Helwig, Irving Layton, Gwendolyn MacEwen, Tom Marshall, Joan McCulloch, Desmond Pacey, P. K. Page, Bruce Ruddick, F. R. Scott, A. J. M. Smith, Raymond Souster, Audrey Sutherland, and Robert Weaver. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 5 June 1971.
Part IV of a seven-part series. Anderson discusses small magazines with the above authors. Page discusses Patrick Anderson, her attendence at some of the Preview meetings, and the way in which her poetry was published in Preview. One of the factors emerging from Preview was "the social protest, the political angle." What interested Page more, however, was "the psychological factor," which dealt with the new psychology of Freud and Jung.
C158 Anderson, Allan. "Aspects of the Canadian Novel." Interview with Margaret Atwood, Clark Blaise, Hugh Garner, Hugh Hood, Douglas Le Pan, Norman Levine, Gwendolyn MacEwen, John Metcalf, Alice Munro, Michael Ondaatje, Desmond Pacey, P. K. Page, David Lewis Stein, and Kent Thompson. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 9 Dec. 1972. (2 min.)
Part VI of a seven-part series. Anderson interviews the above writers on the craft of fiction. Page, in her segment of Part VI, says that the novel "is a sorting of one's way through the maze of personalities" and, as such, "is a young person's activity," although "...one part of me doesn't believe...[that] at all." It is normally put that "... one writes poetry when one's young and when one matures one grows into writing novels...."
C159 Keeler, Judy. "An Interview with P. K. Page." The Canadian Forum, Sept. 1975, pp. 33-35.
The interview contains biographical information, such as the fact that Page's initials (P. K.) were used to hide her writing from her adolescent friends. The Sun and the Moon was written when Page was twenty-one and living in the Maritimes and it was not published by Macmillan at first because of a paper shortage. Later, when they wanted to publish the novel, Page was embarrassed by it, hence the use of a pseudonym. Page traces her involvement with Contemporary Verse, the Preview group, etc. She then outlines her travels to Australia, Brazil, and Mexico. Page describes how her "consciousness was altered" by Brazil and that it was there that she began drawing. She now believes that the "right proportions can alter human perception." She also outlines how some poems originate in dreams, how she has become more self-conscious, and how reading Sufi literature has influenced her.
C160 Gzowski, Peter. Interview with P. K. Page. Gzowski on FM. CBC-FM Radio, 2 April 1976. Rebroadcast 28 April 1977.
Page talks about her interest in twelfth- and thirteenth-century Persian art and literature and discusses her work. Page also reads poems (B354, B356-B359).
C161 Pearce, Jon. "Fried Eggs and the Workings of the Right Lobe: An Interview with P. K. Page." Quarry, 28, No. 4 (Autumn 1979), 30-42. Rpt. in Twelve Voices: Interviews with Canadian Poets. By Jon Pearce. Introd. Jon Pearce. Ottawa: Borealis, 1980, pp. 145-57.
This interview, dated August 1977, deals primarily with Page's views on the creative process. She thinks of herself as a "Muse poet" because she does not seem to have control over when and how a line of a poem will strike her. In that sense the poem seems to write the poet. She mentions that the poem "Shaman" was "given" to her almost completely, and "Another Space" was based entirely on a dream. She talks about the dreaming and creative right hemisphere of the brain as the possible source of the creative energy which brings poems into existence. In Australia, Page stopped writing almost entirely for twelve years simply because no lines were given to her. It was then that she began drawing. Spender, Wilfred Owen, Auden, and particularly Rilke and Lorca influenced Page in a profound way, but left no mark upon her work. Patrick Anderson did not affect her work in the same way, but he did leave a mark on her poetry. Jung also interested her in the 1940s, but, in the last ten years, a major influence and nourishment for her thought has been Middle Eastern mystical poetry. Page also mentions that she has always possessed a "sort of yearning that is almost a nostalgia." The exile from, and return to, the garden is a central motif in her poetry and this journey to Eden or Heaven "has to be achieved through some kind of transcendental experience." In passing, Page mentions why she finds prose difficult to write and how so many Canadian poets writing now have at least a high level of competence. But good poetry demands more: "Vision and Fire." She also says that "Arras" and "Snowman" are her favourite poems.
C162 Cameron, Brian, Christopher Levenson, Robert Eady, David Lewis, and Caroline Stewart. "Arc in Conversation with P. K. Page." 5 Nov. 1981. Printed in Arc: A Magazine of Poetry and Poetry Criticism, No. 7 (1982), pp. 49-60.
Page talks about the label of "visionary" as it applies to her work and largely rejects the term. She says that she has to be "given" something to start off the writing process, and her use of more formal devices may be linked to that need. She lists a number of Canadian poets whom she admires, but her "affinities" are more with such writers as Doris Lessing. There are comments on how her later poems become more personal, on the poems "Cullen Revised" and "After Donne," and on her interest in the work of Karl Popper. Page also rejects Frank Davey's assessment of her as being "anti-life" (C86). She expresses admiration for Archibald Lampman, and she suggests Rilke's ideal of silence is a very attractive one to her. The artist is a medium who says what life is better than sociologists or psychiatrists do.
C163 Enright, Robert. Interview with P. K. Page. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?]. (15 min.)
Page talks about her parents' interest in the rhythm of language, how she is "given" a poem which she "works," her interest in form, and the patterns emerging in her work. Her interest in angels comes from her reading of Rilke when she was young. She now understands that his angels stayed in her mind because (like Rumi's angels) they are "the higher faculties in man." She mentions the influence of Patrick Anderson and describes the so-called rivalry between the Preview group and John Sutherland. Her work is becoming more personal, but she distrusts the tendency towards biographical writing. Page also reads poems (B337, B343, B346-B348, B351, B354-B358, B360-B366).
C164 Rooke, Constance. "Distilled from All This Living, All This Gold: An Interview with P. K. Page." Monday [Victoria], 15 Jan. 1982, pp. 14-15.
Page speaks of her intuition of "an absolute beauty" that is "the absolute truth" and of her belief in a planned and orderly other world which this life makes us half forget. She also mentions how the language of her more recent poetry is "much sparer" and that, contrary to most writers, her poems became "more personal" as she got older. Page is interested in new inquiries of science into the development and the structure of the human brain; and she finds ideas and energy in science fiction even if some of those writers do not "handle language that well." She describes the different approaches she takes when writing poetry and prose and when drawing. Recent influences on her thinking are Doris Lessing, Robert Bly, "fairy tales and mystical poets of the twelfth and thirteenth century in the Middle East."
C165 "PCR Interview with P. K. Page." Poetry Canada Review, 3, No. 3 (Spring 1982), 8.
The questions in this interview concern Page's response to her reputation as a poet, the development of her poems towards more simple uses of language, her development as "a painter," and the influence she has had on others. Page expresses surprise and gratification at the praise she has received, and she comments on how young she still feels. She refers to the increasing simplicity and clarity of her poems by speculating about "the split brain theory" and the possibility of the right or image-making lobe degenerating earlier or that in a linear culture the left lobe suffers from hypertrophy. In any event, she prefers the "dreaming lobe where the intuitive flashes occur." Her drawings also eventually emerged from the dreamer in her. She had no idea what influence she will leave.
C166 Heenan, Michael. "Souvenirs of Some: P. K. Page Responding to a Questionnaire." Canadian Poetry: Studies, Documents, Reviews, No. 10 (Spring-Summer 1982), pp. 100-05.
This is a record of Page's responses to a questionnaire given to her in 1974. In it Page remembers John Sutherland and outlines the nature of his influence on her and the Preview group. She also assesses the "contemporary poetry scene" in Canada by complaining that some of it is not "intuitive or sensitive enough to what is significant in experience." Too much new poetry is made from logic, rather than dreams and images. Although there is more Canadian literary criticism now which may help the reader, it is not of much help to the writer. She adds A. M. Klein to the list of writers who have influenced her work and then adds more detail to her recollections of John Sutherland.
C167 Manguel, Alberto. "You Must Read These Books: P. K. Page." The Globe and Mail [Toronto], 21 April 1984, Sec. Book, p. 7.
Page makes very brief comments on Anne Wilkinson's Swann and Daphne, George Johnston's translation of Knut Odegard's Wind Over Romsdal, and Howard O'Hagan's The SchoolMarm Tree, The Women Who Got On at Jasper Station, and Tay John.
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Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
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C168 Anderson, Patrick. "Children (For P. K. P.)." Preview, No. 23 ([Jan. 1945?]), p. 6. Rpt. in A Tent for April. By Patrick Anderson. New Writers Series, No. 2. Montreal: First Statement, 1945, n. pag.
C169 McLaren, Floris Clark. "Poem (For P. K. P.)." Contemporary Verse, No. 12 (Jan. 1945), p. 4.
C170 Hope, A. D. "Soledades of The Sun and Moon (For P. K. Page)." In his Collected Poems 1930-1965. New York: Viking, 1966, pp. 106-10. Rpt. in his Selected Poems. Sydney, Aust.: Angus & Robertson, 1963, pp. 23-26. Rpt. in his Collected Poems 1930-1970. Sydney, Aust.: Angus & Robertson, 1966, pp. 106-10.
C171 Lane, Pat. "The Measure (for P. K. Page)." Canadian Literature, No. 79 (Winter 1978), p. 43. Rpt. ("The Measure: For P. K. Page") in Poetry Canada Review, 1, No. 2 (Winter 1979-80), 7. Rpt. in The Measure. By Patrick Lane. Windsor, Ont.: Black Moss, 1980, p. 9.
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Record: 401- Title:
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A20 Miriam Waddington. Canadian Poets on Tape, No. 9. Prod. Earle Toppings. Toronto: Ontario Institute for Studies in Education, 1970. (Reel-to-reel tape; 30 min.)
This tape is also available on a sixty-minute cassette which includes James Reaney on the reverse side. Includes "The Bond," "Canadians," "Driving Home," "The Drug Addict," "The Eight-Sided White Barn," "Elijah," "The Gardeners," "Landscape of John Sutherland," "Looking for Strawberries in June," "Lovers," "My Travels," "Saints and Others," "Sea Bells," "The Season's Lovers," "Understanding Snow," and "The Women's Jail."
The recording also includes Waddington's commentary on each poem.
A21 The Visitants. Narr. Aileen Seaton. Talking Books, No. 3215. Toronto: CNIB, 1982. (1 cassette; 55 min.)
Not commercially available; restricted to the visually impaired.
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- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
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A14 [underbar]introd. John Sutherland: Essays, Controversies and Poems. New Canadian Library Original, No. 81. Toronto: McClelland and Stewart, 1972. 15, 206 pp.
A15 [underbar]introd. The Collected Poems of A. M. Klein. Toronto: McGraw-Hill Ryerson, 1974. iv, 373 pp.
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A16 Little Allegories of Canada. Montreal: All French Speaking Here. 1st ser., No. 1. Santa Barbara, Cal.: Unicorn, 1967. [1 leaf.]
Includes "Little Allegories of Canada: 2. Montreal: All French Speaking Here" (B377).
A17 Flying with Milton. Unicorn Folio, 3rd ser., No. 1. [A Canadian Folio.] Ed. Alan Brillant. Santa Barbara, Cal.: Unicorn, 1969. [1 leaf.]
Includes "Flying with Milton" (A6).
A18 What Is a Canadian. Canadian Poets on Posters, No. 10. Calgary: Poetry Goes Public, 1978. [1 leaf.]
Includes "What Is a Canadian" (A5).
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A13 A.M. Klein. Studies in Canadian Literature, No. 10. Toronto: Copp Clark, 1970. 145 pp.
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A19 Poetry editor. Poetry Toronto, Sept. 1981-Aug. 1982.
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Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005001006
Record: 406- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Books; Manuscripts
- Other Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
p. 295-297 (3 p.) - Links:
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Books; Manuscripts
Ricou, Laurie (compiler)
A22 The Miriam Waddington Collection
Public Archives of Canada
Ottawa, Ontario
This collection consists of material acquired by the archives in 1974 and 1975. At present the collection is in 17 volumes containing manuscripts, typescripts, galleys, page proofs, notes and printed material. Volume XVII is material received in 1982 and has not yet been catalogued. Although the collection contains some correspondence, most of the correspondence remains in the hands of the author. A short list of the contents follows.
Vol. I:
Notebooks and journals, 1930-71. Contains notes relating to Waddington's studies, teaching, writing, and personal life; mss. of poems and fiction. Access to this volume is restricted, although the restriction is subject to periodic review.
Vol. II:
General ms. files [1930]-72. Includes some poems by Patrick Waddington; illustrated poems and music scores ("Apollo Tree," music Edmund Haines for Harold Aks and the Sarah Lawrence College Chorus, 1972; "Sea Bells," music Rev. J. Dorskind, 1963; "Sea Bells," music Chester Duncan, 1970; and "The Snows of William Blake," music Morris Surdin, 1969).
Vol. III:
Fiction [1930s]-1975; also continues contents of Vol. II.
Vol. IV:
Essays [1936]-73. Includes book, radio, and television reviews and university essays.
Vol. V:
Scripts [1958-65?]. Material for radio programs ("The Journals and Letters of Anton Chekhov." CBC Wednesday Night. Dir. H. Steinhouse. CMB Radio, 17 Sept. 1958; and "Edgar Allen Poe"; research material and rough draft of a radio script, n.p., 1959); a libretto ("Bonche Schweig in Montreal," sketch for a stylized opera, n.p., [1965]); material regarding The Second Silence, The Season's Lovers, and The Glass Trumpet.
Vol. VI:
Translations [c. 1960]-68. Material regarding The Glass Trumpet, Canadian Poetry for Young Readers, Say Yes, and Driving Home: Poems New and Selected.
Vol. VII:
Material regarding Say Yes, Driving Home: Poems New and Selected, The Price of Gold, and A. M. Klein.
Vol. VIII:
Material regarding A. M. Klein.
Vol. IX:
Material regarding A. M. Klein and John Sutherland.
Vol. X:
Material regarding John Sutherland and The Collected Poems of A. M. Klein.
Vol. XI:
Material regarding The Collected Poems of A. M. Klein; personal files, 1930-74, including material relating to Waddington's education, publications, and teaching and social work careers; financial papers, appointment calendars; and miscellaneous mss. by other authors including Patrick Waddington.
Vol. XII:
Personal files, 1930-74 (continued); printed material 1930s-1974, including publicity material, reprints, clippings, and annotated periodicals.
Vol. XIII:
Printed material [1930s]-1974 (continued).
Vol. XIV:
Material regarding Say Yes, Driving Home: Poems New and Selected, Dream Telescope, The Price of Gold, and The Collected Poems of A. M. Klein.
Vol. XV:
Material regarding Dream Telescope and The Price of Gold.
Vol. XVI:
Printed Material [1930s]-1974 (continued).
A23 National Photography Collection
Public Archives of Canada
Ottawa, Ontario
Contains photographs 1934-74; includes photographs from Call Them Canadians: A Photographic Point of View, photographs of Waddington's youth (to 1940s), and photographs regarding Waddington's professional activities and her family.
A24 National Film, Television, and Sound Archives
Public Archives of Canada
Ottawa, Ontario
Includes 1 videocassette (Jerusalem, Carol. "Carol Jerusalem Interview with Miriam Waddington," Thunder Bay), audio-cassettes (Waddington reading her poems [10 April 1958], Patrick Waddington and Miriam Waddington reading her poems [1950s], and "Miriam Waddington," Canadian Poets on Tape [OISE]).
A25 Picture Division
National Archives of Canada
Ottawa, Ontario
Includes 2 lino prints by Waddington ("Walking in London," 1968) and 1 charcoal portrait of her ("Miriam Waddington") by Deny.
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Copyright of this work is the property of Toronto, Ontario : ECW Press and its content may not be copied without the copyright holder's expressed written permission except for the print or download capabilities of the retrieval software used for access. This content is intended solely for the use of the individual user.
Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005001008
Record: 407- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Books; Poetry
- Other Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
p. 288-294 (7 p.) - Links:
- Linking Note: Each full text record is broken down by type of work or actual work when appropriate.
Previous Entry in publication
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- Database:
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Books; Poetry
Ricou, Laurie (compiler)
[underbar]
A1 Green World. New Writers Series, No. 3. Montreal: First Statement, 1945. [30 pp.]
Includes "Arabian," "Ballet" (B29), "The Bond" (B22), "Cadenza" (B66), "Circles" (B63), "Dog Days" (B75), "Gimli" (B40), "Girls" (B41), "Green World" (B43), "In the Big City" (B62), "Integration" (B35), "Into the Morning" (B42), "Investigator" (B28), "Lovers: [The pale net of her hair blowing in spring . . .]" (B45), "Lullaby" (B68), "Morning until Night" (B69), "Portrait: [Lady by Renoir au bord de la Seine . . .]" (B39), "The Sleepers" (B53), "Summer in the Street" (B73), "Sympathy" (B49), "Tapestry: [six angels will I put to watch . . .]," "Uncertainties" (B30), "Unquiet World," "Where" (B65), and "Who Will Build Jerusalem."
A2 The Second Silence. Toronto: Ryerson, 1955. 57 pp.
Includes "Adagio" (B76), "At Midnight," "Bird's Hill" (B112), "The Bread We Eat" (B91), "Catalpa Tree" (B104), "Charity" (B97), "Childless," "Circles" (B63), "City Street," "Erosion" (B21), "Fables of Birth" (B107), "Folkways" (B31), "Foundling (Myra)" (B93), "Getting Older," "Growing" (B85), "In the Park" (B105), "Interval" (B84), "Investigator" (B28), "Inward Look the Trees," "Journey to the Clinic: 1," "Journey to the Clinic: 2," "Journey to the Clinic: 3," "Journey to the Clinic: 4," "Journey to the Clinic: 5," "Journey to the Clinic: 6," "Journey to the Clinic: 7," "Lovers: [Lovers tread the waters, lovers go...]" (B87), "Lullaby" (B68), "Morning until Night" (B69), "The Music Teachers" (B88), "New Year's Concert" (B109), "Night in October" (B90), "Novella," "Poems about War" (B108), "Prayer," "Problems: [Problems of loving pierce the autumn night . . .]" (B64), "St. Antoine Street: 1" (B99), "St. Antoine Street: 2" (B100), "St. Antoine Street: 3" (B101), "Sorrow" (B27), "These Times," "Thou Didst Say Me" (B74), "Three Poems for My Teacher: 1" (B79), "Three Poems for My Teacher: 2" (B80), "Three Poems for My Teacher: 3" (B81), "Three Poems to a Pupil: 1" (B94), "Three Poems to a Pupil: 2" (B95), "Three Poems to a Pupil: 3" (B96), "Time's Large Ocean" (B83), "Trip from the City" (B103), "Uncertainties" (B30), "Wonderful Country" (B70), "Worlds" (B102), and "You and Me."
A3 The Season's Lovers. Toronto: Ryerson, 1958. 56 pp.
Includes "The Artist," "The City's Life," "Did You Me Dream" (B115), "An Elegy for John Sutherland" (B139), "Exchange" (B146), "The Exhibition: David Milne," "The Honeymoon," "In a Corridor at Court," "In the Mountains," "In the Sun," "Islanded," "Jonathan Travels" (B118), "My Lessons in the Jail" (B142), "No Earthly Lover" (B130), "Old Women of Toronto," "The Orator" (B129), "People Who Watch the Trains," "Poets and Statues," "The Season's Lovers" (B143), "Semblances," "Song: [Paint me a bird upon your wrist . . .]," "The Thief," "Three Prison Portraits: 1. The Alcoholic" (B127), "Three Prison Portraits: 2. The Drug Addict" (B126), "Three Prison Portraits: 3. The Non Supporter" (B128), "The Through Way (Montreal's Dorchester Street)," "To Be a Healer," "Traffic Lights at Passover," "What Is Hard," "When World Was Wheelbarrow" (B145), "Winnipeg" (B125), "The Women's Jail" (B131), "You Are My Never" (B133), and "The Young Poet and Me."
A4 The Glass Trumpet. Toronto: Oxford Univ. Press, 1966. 96 pp.
Includes "A Balkan Cemetery" (B159), "The Bright Room" (B191), "Brotherly Love on Sherbrooke Street" (B182), "Camping" (B176), "Carnival: For Ghitta Caisermann" (B147), "Children's Coloured Flags," "Christ in a Loin Cloth" (B157), "The Clearing," "Committee Work," "Desert Stone" (B352), "Falling Figure: And Turning," "Falling Figure: Falling," "Falling Figure: Groping," "Falling Figure: Levelling," "Falling Figure: Moving," "Falling Figure: Resting," "Falling Figure: Turning," "The Far City" (B190), "The Field of Night: For Philip Surrey" (B187), "The Follower" (B116), "Fortunes," "From a Dead Poet's Book" (B202), "The Gardeners" (B181), "The Glass Trumpet," "Goodbye Song" (B196), "Green World Two" (B183), "Hart Crane" (B197), "Homage to Apollinaire with Some Words by John Dowland" (B158), "Incidents for the Undying World" (B209), "The Journeying" (B132), "The Land Where He Dwells In" (B179), "Looking at Paintings" (B120), "Losing Merrygorounds," "A Man Is Walking," "The Midsummer Garden" (B141), "The Mile Runner" (B165), "New Year's Day" (B206), "Night of Voices," "Night on Skid Row" (B171), "On My Birthday" (B153), "The Oracle," "Pictures in a Window" (B188), "Pleasures from Children" (B164), "Prairie Thoughts in a Museum: 1. The Picture" (B192), "Prairie Thoughts in a Museum: 2. The People" (B193), "Prairie Thoughts in a Museum: 3. The Picture" (B194), "Prairie Thoughts in a Museum: 4. The People" (B195), "Remembering You" (B198), "Returning to Toronto" (B173), "Saints and Bibliographers" (B210), "Saints and Others" (B174), "Sea Bells" (B166), "Second Generation" (B23), "Seeing Beyond Brick" (B200), "Selma" (B189), "The Snows of William Blake" (B149), "A Song of North York between Sheppard and Finch" (B172), "Summer Letters" (B199), "The Survivors" (B148), "The Terrarium" (B184), "Things of the World" (B185), "Toronto the Golden-Vaulted City" (B175), "Winter One," and "Winter Two" (B204).
A5 [underbar]and the National Film Board. Call Them Canadians: A Photographic Point of View. Ed. Lorraine Monk. Ottawa: Roger Duhamel, 1968. 243 pp.
Includes "[adult education . . .]" (A4--"Committee Work"), "[And the mind fills . . . ]," "[Beyond the white gothic of her smile...]" (B81), "[crazy man crazy and . . .]," "[Dark is the winter water . . .]" (B208), "[Death pursues us all; with gentle teeth . . .]," "[The distant bridge . . .]," "[Does your mind . . .]" (B35), "[faces have no words . . .]," "[Friends when they meet . . .]," "[From the country of the snow . . .]," "[From the garish palazzo and...]" (B353), "[Gentle becomes her...]," "[The happiness of birds...]," "[he will bury . . .]" (B53), "[Here are . . .]" (B240), "[Hey, what's this? . . .]," "[How does the seed grow...]," "[I am not Pacific...]" (B52), "[I have built a temple . . .]," "[I have to hurry . . .]," "[I live this long winter...]," "[I look up through boughs of snow...]" (B156), "[I wait the turned key the sign ...]," "[I'd like a little farm...]," "[In the big city ...]" (B62), "[In the cold salt mines of the sea...]" (B229), "[In the house of maimed desire . . .]" (B231), "[In this see-saw between skin and soul ...]," "[it is all city driving...]," "[It was oranges in California...]," "[It's raining in Toronto love ...]," "[Let darkness stay in the mirror deepen ...]," "[The lilies are lying prone . . .]" (B20), "[Little children, fishes in the net . . .]" (A2-"Journey to the Clinic: 6"), "[Little father your ...]" (B242), "[Love . . .]" (B218), "[Love was a young leap across. . .]" (A1--"Arabian"), "[lovers tread the waters . . .]" (B87), "[The meadow was awash with brown . . .]," "[No Lampman writes you poems now . . .]," "[Of all my broken . . .]" (B205), "[Old woman cabbage queen...]" (B226), "[One two button my shoe . . .]," "[Penelope among the dandelions stood...]" (B163), "[Professor Waddington will not be...]," "[Prophet dream us a palm of light . . .]" (A1-"Unquiet World"), "[quiet as the world after midnight . . .]," "[rootless slumber stemless lies ...]" (B155), "[six angels will I put to watch . . .]" (A1--"Tapestry"), "[Spring-rain falls...]," "[Stiff as flowers . . .]" (B225), "[Stop time . . .]," "[The sun-stroked birds . . .]," "[There is a man who calls me wife . . .]," "[They shall live in their country . . .]" (B106), "[Thin seabird you bend . . .]" (A4--"The Oracle"), "[Through the dark trumpets. . .]" (B227), "[Time is the teacher. . .]," "[Time makes him old...]," "[We are caught in a dry net...]," "[We are light...]" (B230), "[We are not one but two . . .]," "[We become...]," "[We see in dead of dark...]," "[We'll turn the animals . . .]" (B67), "[What is a Canadian. . .]," "[What is this love of country and of street? . . .]," "[When a shell forsaken . . .]" (B111), "[When I step out and feel the green world...]" (B43), "[Will there come a time...]," "[Will we defeat the death...]" (A2 --"Journey to the Clinic: 7"), and "[Winter folds a velvet ear...].
A6 Say Yes. Toronto: Oxford Univ. Press, 1969. 90 pp.
Includes "About Free Rides" (B243), "About How Hard It Is to Find New Words in an Outworn World When You Are Not a Magician," "All Those Who Run in Fields" (B207), "Apollo Tree" (B235), "Birch Tree," "Breaking with Tradition" (B241), "Cape Cod," "Cinderella Poems," "Circus Stuff" (B244), "Dancing" (B245), "Dark" (B239), "Disguises," "A Drawing by Ronald Bloore," "Driving Home," "The Eight-Sided White Barn" (B219), "Flying with Milton," "From a Train Window: 1-3" (B211), "How Each One Becomes Another in the Early World" (B256), "How We Are Immortal in Others," "Icons" (B246), "In London," "In My Dream Telescope: And Beyond," "In My Dream Telescope: Double Zero," "In My Dream Telescope: Journey," "In My Dream Telescope: Last Image," "In My Dream Telescope: Legend," "In My Dream Telescope: Likeness," "In My Dream Telescope: Mysteries," "In My Dream Telescope: Singing," "In My Dream Telescope: The Darkening," "In My Dream Telescope: The Dream Telescope," "In My Dream Telescope: Underground," "Laughter" (B230), "Leaf" (B220), "The Little Fringes" (B238), "Living Canadian: Words to Electronic Music: 1," "Living Canadian: Words to Electronic Music: 2," "Looking for Strawberries in June" (B247), "Love Poem," "The Magician" (B236), "A Man in Chicago," "Memory Box," "A Morning Like the Morning When Amos Awoke" (B237), "My Travels" (B217), "Owning the World," "A Picture of O," "Pont Mirabeau in Montreal" (B221), "Shakedown," "Someone Who Used to Have Someone," "Sorrow Song," "Spring Rain" (A5--"[Spring-rain falls...]"), "Summer" (A5--"[The distant bridge . . .]"), "Sunday Evening Letters," "Swallowing Darkness Is Swallowing Dead Elm Trees" (B257), "Time: [ageless is my love . . .]" (B247a), "Transition" (B250), "Ukranian Church" (B242), "Understanding Snow," "Waiting in Alberta" (B248), "The Wakened Wood: 1" (B212), "The Wakened Wood: 2" (B213), "The Wakened Wood: 3" (B214), "The Wakened Wood: 4" (B215), "The Wakened Wood: 5" (B216), "Waking" (B218), "Waking in London: 1" (B251), "Waking in London: 2." (B252), "Waking in London: 3" (B253), "Waking in London: 4" (B254), "The Woman in the Blue Hat" (B249), "Women Who Live Alone" (B232), and "You as Real" (B224).
A7 Dream Telescope. London: Anvil Poetry, 1972. 24 pp.
Includes "The Bower," "Dream Telescope: 1. Legend" (A6), "Dream Telescope: 2. Mysteries" (A6), "Dream Telescope: 3. Double Zero" (A6), "Dream Telescope: 4. Underground" (A6), "Dream Telescope: 5. Singing" (A6), "Dream Telescope: 6. The Dream Telescope" (A6), "The Dream Telescope: 7. Journey" (A6), "Dream Telescope: 8. Likeness" (A6), "Dream Telescope: 9. The Darkening" (A6), "Dream Telescope: 10. Last Image" (A6), "Dream Telescope: 11. And Beyond" (A6), "Eavesdropping" (B262), "Elijah" (B266), "The Landscape of John Sutherland" (B255), "Leaves," "Runners" (B223), and "Snowfences."
A8 Driving Home: Poems New and Selected. Toronto: Oxford Univ. Press, 1972. 176 pp.
[underbar]London: Anvil, 1973. 176 pp.
Includes "Advice to the Young" (B283), "Anxious" (B258), "At Midnight" (A2), "Between Cities" (B290), "The Bond" (B22), "Camping" (B176), "Canadians" (B240), "Catalpa Tree" (B104), "Charity" (B97), "Children's Coloured Flags" (A4), "Christ in a Loin Cloth" (B157), "City Street" (A2), "The City's Life" (A3), "Dead Lakes" (B281), "Desert Stone" (B352), "Driving Home" (A6), "Eavesdropping" (B262), "The Eight-Sided White Barn" (B219), "Exchange" (B146), "Fence Post" (B275), "The Field of Night: For Philip Surrey" (B187), "Finding Amos in Jerusalem" (B291), "Folkways" (B31), "The Following" (B274), "Fortunes," "From a Dead Poet's Book" (B202), "The Gardeners" (B181), "Getting Older" (A2), "Gift: Venus 24 Degrees in Virgo: For Edmund Haines" (B285), "Gimli" (B40), "The Glass Trumpet" (A4), "Goodbye Song" (B196), "Green World One" (B43), "Green World Two" (B183), "The Hockey Players" (B225), "House of Industry" (B27), "I Wish My Life Was a Movie" (B273), "Icons" (B246), "Imitations" (B292), "In Small Towns" (B286), "In the Big City" (B62), "In the Park" (B105), "In the Sun" (A3), "Interval" (B84), "Investigator" (B28), "Inward Look the Trees" (A2), "Journey to the Clinic: 1" (A2), "Journey to the Clinic: 2" (A2), "Journey to the Clinic: 3" (A2), "Journey to the Clinic: 4" (A2), "Journey to the Clinic: 5" (A2), "Journey to the Clinic: 6" (A2), "Journey to the Clinic: 7" (A2), "The Journeying" (B132), "The Land Where He Dwells In" (B179), "A Landscape of John Sutherland" (B255), "Language as I Used to Believe in It" (B263), "Laughter" (B230), "Lights" (B276), "Looking for Strawberries in June" (B247), "The Lonely Love of Middle Age" (B353), "Lot's Wife," "Love Poem" (A6), "Lovers: [Lovers tread the waters, lovers go . . .]" (B87), "Lullaby" (B68), "The Mile Runner" (B165), "Morning until Night" (B69), "Moscow Roses" (B282), "Motions," "The Music Teachers" (B88), "My Lessons in the Jail" (B142), "My Travels" (B217), "New Religions" (B287), "New Year's Day" (B206), "Night in October" (B90), "Night on Skid Row" (B171), "The Nineteen Thirties Are Over" (B264), "Old Women of Toronto" (A3), "Origins" (B288), "Pleasures from Children" (B164), "Poem for a Pupil" (B96), "Poets and Statues" (A3), "Polemics" (B267), "Pont Mirabeau in Montreal" (B221), "Portrait: [Lady by Renoir au bord de la Seine ...]" (B39), "Provincial" (B295), "Remembering You" (B198), "Renunciations," "Sad Winter in the Land of Can. Lit." (B268), "Saint Antoine Street: 1" (B99), "Saint Antoine Street: 2" (B100), "Saints and Others" (B174), "Sea Bells" (B166), "Seashell" (B111), "The Season's Lovers" (B143), "Signs" (B279), "The Snows of William Blake" (B149), "Song: Elijah" (B266), "Song for Sleeping People" (B261), "A Song of North York between Sheppard and Finch" (B172), "Summer in the Street" (B73), "Summer Letters" (B199), "Sympathy" (B49), "Tapestry: For Helen Duffy. [Rags, beads, birds' . . .]" (B296), "The Thief" (A3), "Things of the World" (B185), "Thou Didst Say Me" (B74), "Three Poems for My Teacher: 1" (B79), "Three Poems for My Teacher: 2" (B80), "Three Poems for My Teacher: 3" (B81), "Toronto the GoldenVaulted City" (B175), "Totems" (B297), "Transformations" (B265), "Trip from the City" (B103), "Two Prison Portraits: 1. The Alcoholic" (B127), "Two Prison Portraits: 2. The Drug Addict" (B126), "Ukranian Church" (B242), "Unquiet World" (A1), "Voyagers," "Waking" (B218), "West Coast" (B35), "Why Should I Care about the World" (B272), "Winter One" (A4), "The Women's Jail" (B131), "Wonderful Country" (B70), "The World on Easter Morning" (B259), and "You Are My Never" (B133).
A9 The Price of Gold. Toronto: Oxford Univ. Press, 1976. 112 pp.
Includes "Absences" (B310), "Afternoon on Grand Manan," "Artists and Old Chairs: For Helen Duffy" (B333), "Back at York University" (B280), "Beau-Belle" (B305), "Before I Go" (A5--"[I have to hurry . . .]"), "The Bower" (A7), "By the Sea: For A. M. Klein" (B322), "The Cave," "Charlottetown" (B308), "The Dark Lake" (B309), "The Days Are Short," "The Dead" (B325), "Deja Vu" (B330), "Divinations" (B302), "Don't Say Anything: For W. T." (B260), "Downtown Streets" (B301), "Ecstasy: [The pale net of her hair blowing in spring . . .]" (B45), "Ending: [The big winds . . .]" (B284), "Forest Poem" (B303), "Friends" (B321), "Grand Manan Sketches," "Harvest" (B317), "How I Spent the Year Listening to the Ten O'Clock News," "Husbands" (B323), "I Take My Seat in the Theatre," "In Exile" (B67), "The Land of Utmost" (B269), "Leaves" (A7), "Legends" (B304), "Little Prairie Pictures" (B298), "London Night" (B324), "A Lover Who Knows," "Lovers: [Sam promises: lose 20 lbs . . .]" (B306), "Morning on Cooper Street," "National Treasures in Havana" (B311), "Notes of Summer" (B327), "October 1970" (B300), "Old Chair Song" (B328), "Poets Are Still Writing Poems about Spring and Here Is Mine: Spring" (B319), "Popular Geography" (B329), "Portrait: Old Woman" (B226), "The Price of Gold," "Profile of an Unliberated Woman," "Putting On and Taking Off" (B222), "Quiet" (A5--"[quiet as the world after midnight . . .]"), "Rivers" (B299), "The Secret of Old Trees: (For Tobie Steinhouse)," "Snow Stories," "Someone Who Used to Have Someone" (A6), "A Space of Love" (B289), "Spring" (B318), "Spring on the Bay of Quinte" (A5--"[Hey, what's this? . . .]"), "Tallness and Darkness" (B326), "Ten Years and More" (B312), "The Things We Talked About," "This Year in Jerusalem" (B313), "Tourists" (B314), "Trumpets" (B227), "Two Trees" (B315), ''An Unliberated Woman Seen from a Distance," "What Is a Canadian" (A5), "What the Angel Said," "The Wheel" (A5--"[How" does the seed grow...]"), "Where the North Winds Live," "The Wind in Charlottetown," "Wives' Tales" (B316), and "Women."
A10 Mister Never. Turnstone Press Poetry Series 1, No. 9. Winnipeg: Turnstone, 1978. 35 pp.
Includes "Certain Winter Meditations on Mister Never" (B340), "Disposing of Mister Never as a Good Man" (B233), "Dreaming of Mister Never" (B293), "Fragments of Mister Never in My Dream Telescope: 1. Legend" (A6--"In My Dream Telescope: Legend"), "Fragments of Mister Never in My Dream Telescope: 2. Mysteries" (A6--"In My Dream Telescope: Mysteries"), "Fragments of Mister Never in My Dream Telescope: 3. Double Zero" (A6--"In My Dream Telescope: Double Zero"), "Fragments of Mister Never in My Dream Telescope: 4. Underground" (A6--"In My Dream Telescope: Underground"), "Fragments of Mister Never in My Dream Telescope: 5. Singing" (A6--"In My Dream Telescope: Singing"), "Fragments of Mister Never in My Dream Telescope: 6. The Dream Telescope" (A6--"In My Dream Telescope: The Dream Telescope"), "Fragments of Mister Never in My Dream Telescope: 7. Journey" (A6--"In My Dream Telescope: Journey"), "Fragments of Mister Never in My Dream Telescope: 8. Likeness" (A6--"In My Dream Telescope: Likeness"), "Fragments of Mister Never in My Dream Telescope: 9. The Darkening" (A6--"In My Dream Telescope: The Darkening"), "Fragments of Mister Never in My Dream Telescope: 10. Last Image" (A6--"In My Dream Telescope: Last Image"), "Fragments of Mister Never in My Dream Telescope: 11. And Beyond" (A6--"In My Dream Telescope: And Beyond"), "Loving Mister Never" (B289), "Mister Never in a Dream of the Gatineau" (B345), "Mister Never in London" (A6--"Waking in London: 4"), "Mister Never in Ottawa" (B216), "Mister Never in the Chekhov Museum in Moscow" (B215), "Mister Never in the Gardens of France," "Mister Never in Winnipeg" (B213), "Mister Never on the Toronto Subway" (B282), "Mister Never Playing" (B339), "Mister Never Shows Me How to Fall Off the World," "A Monument for Mister Never" (B320), and "Prologue."
A11 The Visitants. Toronto: Oxford Univ. Press, 1981. 80 pp.
Includes "The Big Tree" (B348), "Bulgarian Suite," "Celebrating Mavericks," "Certain Winter" (B340), "Committees" (B355), "Conserving," "Crazy Times" (B349), "Elegies for a Composer," "Feasts" (B341), "A Good Man and a Passionate Woman" (B233), "The Green Cabin" (B350), "History: In Jordan," "Holiday Postcards" (B342), "Honouring Heroes" (B354), "Horoscopes" (B338), "How Old Women Should Live," "In a Summer Garden: In Memory of Morris Surdin," "Lady in Blue: Homage to Montreal" (B343), "Letter from Egypt" (B344), "Managing Death" (B351), "The Milk of Mothers," "Old Age Blues," "Old Woman in a Garden," "Past the Ice Age" (B307), "Playing" (B339), "Portrait of the Owner of a Small Garbage Can," "Prairie" (B336), "Primary Colours: 1. Being Born," "Primary Colours: 2. Living," "Primary Colours: 3. Dying," "Real Estate: Poem for Voices" (B332), "Running Up and Down Mountains at Changing Speeds" (B334), "The Secret-Keeper: In Memory of Marvin Duchow," "Selves," "South American Nights," "The Transplanted: Second Generation" (B356), "Unemployment Town" (B347), "The Visitants," "Wake-up Song," "Warnings" (B337), "When the Shoe is on the Other Foot for a Change" (B335), and "When We Met" (B357).
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Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005001001
Record: 408- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Books; Short stories
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- Part 1 Works By Miriam (Dworkin) Waddington:; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Books; Short stories
Ricou, Laurie (compiler)
A12 Summer at Lonely Beach and Other Stories. Oakville, Ont.: Mosaic/Valley, 1982. 86 pp.
Includes "Breaking Bread in Jerusalem" (B382), "Day in the Sun" (B365), "Far from Snows of Winnipeg" (B381), "Farewells at Four O'Clock" (B368), "The Halloween Party," "The Honeymoon House" (B374), "I'm Lonesome for Harrisburg," "The Last Rehearsal" (B370), "A Mixed Marriage" (B372), "A Place of Witches," "A Silence All Too Long," "Summer at Lonely Beach" (B369), "Waldemar" (B371), and "The Water Cooler."
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Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005001002
Record: 409- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Articles
- Other Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Articles
Ricou, Laurie (compiler)
B471 "Youth Hostels in England." The Canadian Girl [Toronto], 5 May 1940, pp. 139-40.
Signed: Miriam Dworkin.
B472 "Youth Hostels in France." The Canadian Girl [Toronto], 12 May 1940, pp. 147-48.
Signed: Miriam Dworkin.
B473 "Looking at Painting." The Canadian Forum, June 1956, pp. 57-59.
B474 "Radio and Television." The Canadian Forum, July 1956, p. 83.
B475 "Radio and Television." The Canadian Forum, Aug. 1956, p. 107.
B476 "Radio and Television." The Canadian Forum, Sept. 1956, pp. 134-35.
B477 "Radio and Television." The Canadian Forum, Oct. 1956, pp. 158-60.
B478 "Radio and Television." The Canadian Forum, Nov. 1956, pp. 182-83.
B479 "Radio and Television." The Canadian Forum, Dec. 1956, pp. 208-09.
B480 "Marion Scott: A Humanist Painter." Vie des Arts, No. 6 [1957], pp. 19-23.
B481 "Radio and Television." The Canadian Forum, Feb. 1957, pp. 251-53.
B482 "Radio and Television." The Canadian Forum, March 1957, pp. 280-81.
B483 "Radio and Television." The Canadian Forum, April 1957, p. 19.
B484 "Radio and Television." The Canadian Forum, May 1957, pp. 39-40.
B485 "Radio and Television." The Canadian Forum, June 1957, pp. 61-62.
B486 "Radio and Television." The Canadian Forum, July 1957, pp. 83-84.
B487 "Radio and Television." The Canadian Forum, Sept. 1957, p. 135.
B488 "Radio and Television." The Canadian Forum, Oct. 1957, p. 161.
B489 "Looking at Painting." The Canadian Forum, Nov. 1957, pp. 181, 183.
B490 "Radio and Television." The Canadian Forum, Nov. 1957, p. 185.
B491 "Radio and Television." The Canadian Forum, Jan. 1958, pp. 229-30.
B492 "Radio and Television." The Canadian Forum, Feb. 1958, pp. 254-55.
B493 "Radio and Television." The Canadian Forum, Aug. 1958, pp. 110-11.
B494 "Radio and Television." The Canadian Forum, Oct. 1958, pp. 159-60.
B495 "Canadian Art Magazine." The Canadian Forum, Aug. 1959, pp. 103-05.
B496 "The Story of John Doe: Paroled 'Social Worker' Hard-to-Take Character." Toronto Daily Star, 12 Nov. 1960, Sec. Entertainment, p. 27.
B497 "Looking at Television: Toronto File Project 'Painless Education.'" Toronto Daily Star, 26 Nov. 1960, Sec. Entertainment, p. 29.
B498 "Writing to Order: Opinions of Three Authors." Canadian Author & Bookman, 42, No. 2 (Winter 1966), 15.
B499 "Pendulums." Probings. Toronto: Canadian Mental Health Association, 1968, pp. 86-87.
B500 "Miriam Waddington: In My Dream Telescope." In How Do I Love Thee: Sixty Poets of Canada (and Quebec) Select and Introduce Their Favourite Poems from Their Own Work. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1970, p. 34.
B501 "The Late Poet A. M. Klein: He Expressed His Life through Language." The Toronto Star, 30 Sept. 1972, Sec. Travel, p. 69.
B502 "On A. M. Klein." The Canadian Forum, Oct.-Nov. 1972, pp. 4-5.
B503 "Love, to a Poet Is Many Things." The Toronto Star, 2 Jan. 1973, Sec. Family, p. 45.
B504 "Exile: A Woman and a Stranger Living Out the Canadian Paradox." Maclean's, March 1974, pp. 40-43.
B505 "Beyond the Horizon into the Foreverness of Distance." Weekend Magazine [The Globe and Mail] [Toronto], 11 May 1974, p. 51.
B506 "A Canadian Poet in Russia Finds Lenin the New Savior." The Toronto Star, 26 June 1974, p. B3.
B507 "The Corporate Heart Is Cold." Journal of Canadian Studies, 10, No. 2 (May 1975), 85-86.
B508 "Balancing the Books: Miriam Waddington." Books in Canada, Jan. 1979, p. 6.
B509 "Craft Tidbits: Miriam Waddington." Books in Canada, June-July 1980, p. 4.
B510 "Memoirs of a Jewish Farmer." NeWest Review, 6, No. 1 (Sept. 1980), 5-7.
For Myrna Kostash's reply see C59.
B511 "Field Notes: Letter from Germany." Books in Canada, Jan. 1983, pp. 6-8.
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Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005002006
Record: 410- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Audio-visual material
- Other Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Audio-visual material
Ricou, Laurie (compiler)
B614 "At My Wedding." Narr. Leo Sisery. Anthology: Yiddish Poetry in Montreal. Prod. Robert Weaver and Herbert Steinhousel. CBC Radio, 4 Dec. 1959.
Waddington prepared a brief introduction for each poet whose poems she translated. See also B383.
B615 "Late Autumn in Montreal." Narr. Leo Sisery. Anthology: Yiddish Poetry in Montreal. Prod. Robert Weaver and Herbert Steinhousel. CBC Radio, 4 Dec. 1959.
Waddington prepared a brief introduction for each poet whose poems she translated. See also B385.
B616 "Aunt Dvorah." Narr. Leo Sisery. Anthology: Yiddish Poetry in Montreal. Prod. Robert Weaver and Herbert Steinhousel. CBC Radio, 4 Dec. 1959.
Waddington prepared a brief introduction for each poet whose poems she translated. See also B384.
B617 "Camping." Narr. Aileen Seaton. Anthology. Prod. Weldon Hanbroy. CBC Radio, 11 May 1962.
See GT, DT, and B176.
B618 "Piano Phrases in January." Narr. Aileen Seaton. Anthology. Prod. Weldon Hanbroy. CBC Radio, 11 May 1962.
See B177 ("Poems by the Ladies: Piano Phrases in January").
B619 "Pictures in a Window." Narr. Aileen Seaton. Anthology. Prod. Weldon Hanbroy. CBC Radio, 11 May 1962. See GT and B188.
B620 "Poems for Two Voices." Narr. Aileen Seaton. Anthology. Prod. Weldon Hanbroy. CBC Radio, 11 May 1962.
See GT ("From a Dead Poet's Book"); DH, and B202.
B621 "Returning to Toronto." Narr. Aileen Seaton. Anthology. Prod. Weldon Hanbroy. CBC Radio, 11 May 1962.
See GT and B173 ("Four Poems of Toronto: Returning to Toronto").
B622 "Saints and Others." Narr. Aileen Seaton. Anthology. Prod. Weldon Hanbroy. CBC Radio, 11 May 1962.
See GT, DH, MW, and B174 ("Four Poems of Toronto: Saints and Others").
B623 "A Song of North York between Sheppard and Finch." Narr. Aileen Seaton. Anthology. Prod. Weldon Hanbroy. CBC Radio, 11 May 1962.
See GT, DH, and B172 ("Four Poems of Toronto: A Song of North York between Finch and Sheppard").
B624 "Toronto the Golden-Vaulted City." Narr. Aileen Seaton. Anthology. Prod. Weldon Hanbroy. CBC Radio, 11 May 1962.
See GT, DH, and B175 ("Four Poems of Toronto: Toronto the Golden Vaulted City").
B625 "Journals and Letters of Edgar Allan Poe." Narr. Walter Massey and Bud Neff. Wednesday Night. Prod. Elspeth Chisholm. CBC Radio, 27 June 1962.
B626 "The Forsythia Bush." Narr. Toby Wineberg. Anthology: CBC Sunday Night. CBC Radio, 21 June 1964.
See B178.
B627 "The Gardeners." Narr. Toby Wineberg. Anthology: CBC Sunday Night. CBC Radio, 21 June 1964.
See GT, DH, and B181.
B628 "Green World I." Narr. Toby Wineberg. Anthology: CBC Sunday Night. CBC Radio, 21 June 1964.
See GW ("Green World"), DH ("Green World One"), and B43 ("The Crystal").
B629 "Green World II." Narr. Toby Wineberg. Anthology: CBC Sunday Night. CBC Radio, 21 June 1964.
See GT ("Green World Two"), DH, and B183.
B630 "Things of the World." Narr. Toby Wineberg. Anthology: CBC Sunday Night. CBC Radio, 15 June 1964.
See GT, DH, and B185.
B631 "Do You Remember the House." Narr. Marilyn Lightstone. Anthology. Prod. Moses Znaimer. CBC Radio, 15 March 1966.
See GT ("Children's Coloured Flags").
B632 "New Year's Day." Narr. Marilyn Lightstone. Anthology. Prod. Moses Znaimer. CBC Radio, 15 March 1966.
See GT, DH, and B206.
B633 "The People." Narr. Marilyn Lightstone. Anthology. Prod. Moses Znaimer. CBC Radio, 15 March 1966.
See GT ("Prairie Thoughts in a Museum: 4. The People") and B195 ("Prairie Thoughts in a Museum: 4").
B634 "The Picture." Narr. Marilyn Lightstone. Anthology. Prod. Moses Znaimer. CBC Radio, 15 March 1966.
See GT ("Prairie Thoughts in a Museum: 1. The Picture") and B192 ("Prairie Thoughts in a Museum: 1").
B635 "The Picture." Narr. Marilyn Lightstone. Anthology. Prod. Moses Znaimer. CBC Radio, 15 March 1966.
See GT ("Prairie Thoughts in a Museum: 3. The Picture") and B194 ("Prairie Thoughts in a Museum: 3").
B636 "Saints and Bibliographers." Narr. Marilyn Lightstone. Anthology. Prod. Moses Znaimer. CBC Radio, 15 March 1966.
See GT and B210.
B637 "The Bond." Narr. Miriam Waddington. In "Cross Currents of the Forties." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 30 April 1967.
The tape also includes an interview by Webb (C72). See also GW, DH, MW, and B22.
B638 "Canadians." Narr. Miriam Waddington. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 25 June 1967. Rerecorded. Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets [1982?].
Both tapes also include interviews (C73 and C94). See also CTC ("[Here are our signatures/...]"), DH ("Canadians"), and B240.
B639 "Child Hockey Players." Narr. Miriam Waddington. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 25 June 1967.
The tape also includes an interview by Webb (C73). See also CTC ("[Stiff as flowers...]"), DH ("The Hockey Players"), and B225 ("Child Hockey Players").
B640 "The Land Where He Dwells In." Narr. Miriam Waddington. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 25 June 1967.
The tape also includes an interview by Webb (C73). See also GT, DH, and B179.
B641 "Runners." Narr. Miriam Waddington. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 25 June 1967.
The tape also includes an interview by Webb (C73). See also DT and B223 ("Putting On and Taking Off: Runners").
B642 "Tropic." Narr. Miriam Waddington. In "Poets Here, Now and Then." Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 25 June 1967.
The tape also includes an interview by Webb (C73). See also CTC ("[I have built a temple/...]").
B643 "About Free Rides." Narr. Marilyn Lightstone. Anthology: Centennial Short Stories. Prod. Jean Bartels. Ed. Robert Weaver. CBC Radio, 9 Jan. 1968.
See SY and B243.
B644 "Driving Home." Narr. Marilyn Lightstone. Anthology: Centennial Short Stories. Prod. Jean Bartels. Ed. Robert Weaver. CBC Radio, 9 Jan. 1968.
See SY, DH, and MW.
B645 "My Travels." Narr. Marilyn Lightstone. Anthology: Centennial Short Stories. Prod. Jean Bartels. Ed. Robert Weaver. CBC Radio, 9 Jan. 1968. Rerecorded. [National] School Broadcasts. Prod. Anne Gibson. CBC Radio, 19 Jan. 1968.
See SY, DH, MW, and B217.
B646 "Fragments in My Dream Telescope: 1. Legend." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("In My Dream Telescope: Legend"), DT ("Dream Telescope: 1. Legend"), and MN ("Fragments of Mister Never in My Dream Telescope: 1. Legend").
B647 "Fragments in My Dream Telescope: 2. Mysteries." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("In My Dream Telescope: Mysteries"), DT ("Dream Telescope: 2. Mysteries"), and MN ("Fragments of Mister Never in My Dream Telescope: 2. Mysteries").
B648 "Fragments in My Dream Telescope: 3. Double Zero." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("In My Dream Telescope: Double Zero"), DT ("Dream Telescope: 3. Double Zero"), and MN ("Fragments of Mister Never in My Dream Telescope: 3. Double Zero").
B649 "Fragments in My Dream Telescope: 4. Underground." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("In My Dream Telescope: Underground"), DT ("Dream Telescope: 4. Underground"), and MN ("Fragments of Mister Never in My Dream Telescope: 4. Underground").
B650 "Fragments in My Dream Telescope: 5. Singing." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("In My Dream Telescope: Singing"), DT ("Dream Telescope: 5. Singing"), and MN ("Fragments of Mister Never in My Dream Telescope: 5. Singing").
B651 "Fragments in My Dream Telescope: 6. The Dream Journey." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("In My Dream Telescope: The Dream Telescope"), DT ("Dream Telescope: 6. The Dream Telescope"), and MN ("Fragments of Mister Never in My Dream Telescope: 6. The Dream Telescope").
B652 "Fragments in My Dream Telescope: 7. Journey." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("In My Dream Telescope: Journey"), DT ("Dream Telescope: 7. Journey"), and MN ("Fragments of Mister Never in My Dream Telescope: 7. Journey").
B653 "Fragments in My Dream Telescope: 8. Likeness." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("In My Dream Telescope: Likeness"), DT ("Dream Telescope: 8. Likeness"), and MN ("Fragments of Mister Never in My Dream Telescope: 8. Likeness").
B654 "Fragments in My Dream Telescope: 9. The Darkening." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("In My Dream Telescope: The Darkening"), DT ("Dream Telescope: 9. The Darkening"), and MN ("Fragments of Mister Never in My Dream Telescope: 9. The Darkening").
B655 "Fragments in My Dream Telescope: 10. Last Image." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("In My Dream Telescope: Last Image"), DT ("Dream Telescope: 10. Last Image"), and MN ("Fragments of Mister Never in My Dream Telescope: 10. Last Image").
B656 "Fragments in My Dream Telescope: 11. And Beyond." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("In My Dream Telescope: And Beyond"), DT ("Dream Telescope: 11. And Beyond"), and MN ("Fragments of Mister Never in My Dream Telescope: 11. And Beyond").
B657 "Last Love." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("Time: [ageless is my love...]") and B247a.
B658 "Letters to Chicago." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY ("A Man in Chicago").
B659 "Love Poem." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY and DH.
B660 "Understanding Snow." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968. Rebroadcast ("Canadian Poets Reading"). Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 6 Nov. 1971.
The rebroadcast is Part II of a two-part series. See SY.
B661 "Waiting in Alberta." Narr. Barbara Chilcott. Anthology. Prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 14 Dec. 1968.
See SY and B248.
B662 "My Country 'Tis of Thee: [Commentary]." Narr. Marilyn Lightstone. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971.
Several of Waddington's poems are also read (B663-B674).
B663 "My Country 'Tis of Thee: [The Dead Lakes of Sudbury]." Narr. Ed McNamara/Alan King. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971.
The tape also includes a script by Waddington (B662). See also DH ("Dead Lakes") and B281 ("The Dead Lakes of Sudbury").
B664 "My Country 'Tis of Thee: [Don't shout my name...]." Narr. Marilyn Lightstone. Ideas. Prod. David MacPherson. CBC Radio, 16 April 1971.
The tape also includes a script by Waddington (B662).
B665 "My Country 'Tis of Thee: [Eavesdropping]." Narr. Marilyn Lightstone. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971.
The tape also includes a script by Waddington (B662). See also DT ("Eavesdropping"), DH, and B262.
B666 "My Country 'Tis of Thee: [Gimli]" (excerpt). Narr. Ed McNamara/Alan King. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971.
The tape also includes a script by Waddington (B662). See also GW ("Gimli"), DH, and B40.
B667 "My Country 'Tis of Thee: [Her Solomon is no where...]." Narr. Ed McNamara/Alan King. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971.
The tape also includes a script by Waddington (B662).
B668 "My Country 'Tis of Thee: [I am the black Arctic and the poison cold...]." Narr. Marilyn Lightstone. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971.
The tape also includes a script by Waddington (B662).
B669 "My Country 'Tis of Thee: [I sit and drive...]." Narr. Marilyn Lightstone. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971.
The tape also includes a script by Waddington (B662).
B670 "My Country 'Tis of Thee: [Lights]." Narr. Ed. McNamara/Alan King. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971. Rerecorded ("Lights"). Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972.
The 1971 tape also includes a script by Waddington (B662). See also DH ("Lights") and B276.
B671 "My Country 'Tis of Thee: [Old Women of Toronto]." Narr. Ed. McNamara/Alan King. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971.
The tape also includes a script by Waddington (B662). See also SL ("Old Women of Toronto") and DH.
B672 "My Country 'Tis of Thee: [No Lampman writes you poems now...]." Narr. Ed McNamara/Alan King. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971.
The tape also includes a script by Waddington (B662). See also CTC ("[No Lampman writes you poems now...]").
B673 "My Country 'Tis of Thee: [The Through Way (Montreal's Dorchester Street)]." Narr. Ed McNamara/Alan King. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971.
The tape also includes a script by Waddington (B662). See also SL ["The Through Way (Montreal's Dorchester Street)"].
B674 "My Country 'Tis of Thee: [Transformations]." Narr. Ed McNamara/Alan King. Ideas. Prod. David MacPherson. CBC Radio, 26 April 1971.
The tape also includes a script by Waddington (B662). See also DH ("Transformations") and B265.
B675 "All on an Easter Morning." Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972.
See DH ("The World on Easter Morning") and B259 ("All on an Easter Morning").
B676 "Between the Cities." Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972.
See DH ("Between Cities") and B290.
B677 "Fence Post: For Joe Rothfulls." Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972.
See DH ("Fence Post") and B275.
B678 "A Landscape for John Sutherland." Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972.
See DT ("The Landscape of John Sutherland"), DH ("A Landscape of John Sutherland"), and B255.
B679 "Leaves." Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972.
See DT and PG.
B680 "[My childhood...]." Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972.
See DH ("Provincial") and B295.
B681 "The Nineteen Thirties Are Over." Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972. Rerecorded. Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The 1982 tape also includes an interview (C94). See also DH and B264.
B682 "Return." Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972.
See DH ("The Following").
B683 "Signs." Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972.
See DH and B279.
B684 "Song for Sleeping People." Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972.
See DH and B261.
B685 "Voyagers." Narr. Aileen Seaton. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 16 Dec. 1972.
See DH.
B686 "Downtown Streets." Ideas FM: Work of Contemporary Canadian Women Writers. Prod. Patricia MacFarlane. CBC-FM Radio, 28 Dec. 1972.
The tape also includes an interview (C81). See also PG and B301.
B687 "Exchange." Ideas FM: Work of Contemporary Canadian Women Writers. Prod. Patricia MacFarlane. CBC-FM Radio, 28 Dec. 1972.
The tape also includes an interview (C81). See also SL, DH, and B146.
B688 "Fortunes." Ideas FM: Work of Contemporary Canadian Women Writers. Prod. Patricia MacFarlane. CBC-FM Radio, 28 Dec. 1972.
The tape also includes an interview (C81). See also GT and DH.
B689 "The Little Fringes." Ideas FM: Work of Contemporary Canadian Women Writers. Prod. Patricia MacFarlane. CBC-FM Radio, 28 Dec. 1972.
The tape also includes an interview (C81). See also SY and B238.
B690 "The Making of a Poem." Ideas FM: Work of Contemporary Canadian Women Writers. Prod. Patricia MacFarlane. CBC-FM Radio, 28 Dec. 1972. Rerecorded ("The Season's Lovers"). Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
Both tapes also include interviews (C81 and C94). See also SL ("The Season's Lovers") and B143.
B691 "Rivers." Ideas FM: Work of Contemporary Canadian Women Writers. Prod. Patricia MacFarlane. CBC-FM Radio, 28 Dec. 1972. Rebroadcast. Narr. Marilyn Lightstone. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 June 1974.
The 1972 tape also includes an interview (C81). See also PG and B299.
B692 "Charlottetown." Narr. Marilyn Lightstone. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 June 1974.
See PG and B308.
B693 "National Treasures in Havana." Narr. Marilyn Lightstone. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 June 1974.
See PG and B311.
B694 "October 1970." Narr. Marilyn Lightstone. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 June 1974.
See PG and B300.
B695 "Song of the Times." Narr. Marilyn Lightstone. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 June 1974.
See PG ("Beau-Belle") and B305 ("Love: Canadian Style").
B696 "Ten Years and More." Narr. Marilyn Lightstone. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 June 1974.
See PG and B312.
B697 "This Year in Jerusalem." Narr. Marilyn Lightstone. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 June 1974.
See PG and B313.
B698 "Tourists." Narr. Marilyn Lightstone. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 June 1974.
See PG and B314.
B699 "The Wind in Charlottetown." Narr. Marilyn Lightstone. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 June 1974.
See PG.
B700 "Wives' Tales." Narr. Marilyn Lightstone. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 15 June 1974.
See PG and B316.
B701 "Poets Are Still Writing Poems about Spring and Here Is Mine: Spring." Narr. Miriam Waddington. Morningside. Host Harry Brown. Prod. Krista Maeots. CBC Radio, 24 Sept. 1976.
The tape also includes an interview (C85). See also PG and B319.
B702 "Someone Who Used to Have Someone." Narr. Miriam Waddington. Morningside. Host Harry Brown. Prod. Krista Maeots. CBC Radio, 24 Sept. 1976.
The tape also includes an interview (C85). See also SY and PG.
B703 "Conserving." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also Vis.
B704 "The Dead." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94).
B705 "Elegies for a Composer." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also Vis.
B706 "Finding Amos in Jerusalem." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also DH and B291.
B707 "The Glass Trumpet." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also GT.
B708 "History: In Jordan." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also Vis.
B709 "Husbands." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also PG and B323.
B710 "Love Poem." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also SY and DH.
B711 "Old Women." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also SL ("Old Women of Toronto") and DH.
B712 "Self Portrait in Blue." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also Vis. ("Primary Colours: 2. Living").
B713 "Self Portrait in Red." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also Vis. ("Primary Colours: 1. Being Born").
B714 "Self Portrait in Yellow." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also Vis. ("Primary Colours: 3. Dying").
B715 "Someone Who Used To Have Someone." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also SY.
B716 "Thou Didst Say Me." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also SS, DH, and B74.
B717 "The Transplanted." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also Vis. ("The Transplanted: Second Generation").
B718 "The Visitants." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also Vis.
B719 "Where the North Winds Live." Narr. Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
The tape also includes an interview (C94). See also PG.
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Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
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Record: 411- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Essays
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- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
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- Ricou, Laurie (compiler)
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- Bibliography
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- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Essays
Ricou, Laurie (compiler)
B512 "The Student Unit: Some Problems and Psychological Implications." Social Casework, 30 (March 1949), 113-17.
B513 "Group C: Summary by Miriam Waddington." In Writing in Canada: Proceedings of the Canadian Writer's Conference, Queen's University, 28-31 July, 1955. Ed. George Whalley. Introd. F. R. Scott. Toronto: Macmillan, 1956, pp. 97-100.
B514 "Yakov Yitzhok Segal: Canadian Jewish Poet." The Tamarack Review, No. 17 (Autumn 1960), pp. 34-36.
B515 "Signs on a White Field: Klein's The Second Scroll." Rev. of The Second Scroll, by A. M. Klein. Canadian Literature, No. 25 (Summer 1965), pp. 21-32. A.M.K (revised--Ch. V: "Signs on a White Field: The Second Scroll").
B516 "The Cloudless Day: The Radical Poems of A. M. Klein." The Tamarack Review, No. 45 (Autumn 1967), pp. 65-90, 92. A.M.K (revised--Ch. ii: "The Cloudless Day: The Radical Poems"). Rpt. excerpt in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, Short Story Writers, Filmmakers, Scriptwriters, and Other Creative Writers. Ed. Sharon R. Gunton. Vol. XIV. Detroit: Gale, 1981, pp. 258-60.
B517 "Form in Poetry." Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 3, No. 1 (June 1968), 40-51.
B518 "All Nature into Motion: The Poetry of John Sutherland." Canadian Literature, No. 41 (Summer 1969), pp. 73-85. Rpt. in The Sixties: Writers and Writing of the Decade. A Symposium to Celebrate the Tenth Anniversary of Canadian Literature. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, pp. 73-85.
B519 "Canadian Tradition and Canadian Literature." Journal of Commonwealth Literature, No. 8 (Dec. 1969), pp. 125-41. Rpt. in Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 627-38.
B520 "On the Novel as a Transforming Agent." Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 5, No. 1 (June 1970), 19-24.
B521 "Abraham Moses Klein." Encyclopedia Judaica. 1971 ed.
B522 "Canadian Literature." Encyclopedia Judaica. 1971 ed.
B523 "Henry Kreisel." Encyclopedia Judaica. 1971 ed.
B524 "Irving Layton." Encyclopedia Judaica. 1971 ed.
B525 "Mordecai Richler." Encyclopedia Judaica. 1971 ed.
B526 Introduction. John Sutherland: Essays, Controversies and Poems. Ed. Miriam Waddington. New Canadian Library Original, No. 81. Toronto: McClelland and Stewart, 1972, pp. 7-15.
B527 "Literary Studies in English." Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 204-10.
B528 Introduction. The Collected Poems of A M. Klein. Ed. Miriam Waddington. Toronto: McGraw-Hill Ryerson, 1974, pp. vi-x.
B529 "Returning." Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 11, No. 2 (Winter 1976-77), 43-45.
B530 "Teaching Canadian Poetry." English Quarterly, 9, No. 4 (Winter 1976-77), 73-77.
B531 "Poems from a Point in Time." Transitions III: Poetry. Ed. Edward Peck. Vancouver: Comm-Cept, 1978, pp. 302-04.
B532 "Form and Ideology in Poetry." Laurentian University Review / Revue de l'Universite Laurentienne, 10, No. 2 (Feb. 1978), 111-19.
B533 "'My Craft and Sullen Art': The Writers Speak. Is There a Feminine Voice in Literature?". Atlantis [Acadia Univ.], 4, No. 1 (Fall/Automne 1978), 145-47.
B534 "The Function of Folklore in the Poetry of A. M. Klein." Ariel, 10, No. 3 (July 1979), 5-19.
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Copyright of this work is the property of Toronto, Ontario : ECW Press and its content may not be copied without the copyright holder's expressed written permission except for the print or download capabilities of the retrieval software used for access. This content is intended solely for the use of the individual user.
Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005002007
Record: 412- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Letters
- Other Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Letters
Ricou, Laurie (compiler)
B609 Letter. The Canadian Forum, Dec. 1955, pp. 207-08.
B610 Letter. The Fiddlehead, No. 87 (Nov.-Dec. 1970), p. 59.
B611 "Living and Feeling Again!". Letter [excerpt]. Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 6, No. 2 (Dec. 1971), 104.
B612 "On Rank's Views About the Artist." Letter [excerpt]. Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 6, No. 2 (Dec. 1971), 104-05.
B613 "A Rare Species in Our Country." Letter. The Canadian Forum, Oct. 1975, p. 26.
For Robin Skelton's reply see C39.
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Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005002009
Record: 413- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Poems
- Other Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Poems
Ricou, Laurie (compiler)
Note: When an item is reprinted in one of Waddington's books, this fact is noted in the entry through one of the following abbreviations:
A. M. Klein ............................A.M.K
Call Them Canadians ......................CTC
Dream Telescope ...........................DT
Driving Home: Poems New and Selected ......DH
The Glass Trumpet .........................GT
Green World ...............................GW
Miriam Waddington .........................MW
Mister Never ..............................MN
The Price of Gold .........................PG
Say Yes ...................................SY
The Season's Lovers .......................SL
The Second Silence ........................SS
Summer at Lonely Beach and
Other Stories ............................SLB
The Visitants ...........................Vis.
B1 "The Exiles:- Spain." The Varsity [Univ. of Toronto], 11 Dec. 1936, p. 1.
Signed: Miriam Dworkin.
B2 "The Returner." The Undergraduate [Univ. College, Univ. of Toronto], 7, No. 1 (1937), 15.
Signed: Miriam Dworkin.
B3 "Spanish Lovers Seek Respite." The Undergraduate [Univ. College, Univ. of Toronto], 8, No. 1 (Fall 1937), 51.
Signed: Miriam Dworkin.
B4 "The Old Sailor." The Undergraduate [Univ. College, Univ. of Toronto], 8, No. 2 (Spring 1938), 34.
Signed: Miriam Dworkin.
B5 "Organization." The Undergraduate [Univ. College, Univ. of Toronto], 8, No. 2 (Spring 1938), 10.
Signed: Miriam Dworkin.
B6 "The Parting." The Undergraduate [Univ. College, Univ. of Toronto], 8, No. 2 (Spring 1938), 59.
Signed: Miriam Dworkin.
B7 "Of Dreams." The Undergraduate [Univ. College, Univ. of Toronto], 9, No. 1 (Fall 1938), 37.
Signed: Miriam Dworkin.
B8 "Out of Season." The Undergraduate [Univ. College, Univ. of Toronto], 9, No. 1 (Fall 1938), 36.
Signed: Miriam Dworkin.
B9 "Struggle to Free the Spirit." The Undergraduate [Univ. College, Univ. of Toronto], 9, No. 1 (Fall 1938), 37.
Signed: Miriam Dworkin.
B10 "Unheard Melodies." The Undergraduate [Univ. College, Univ. of Toronto], 9, No. 1 (Fall 1938), 45.
Signed: Miriam Dworkin.
B11 "Night Wanderer." Canadian Poetry Magazine, 3, No. 3 (Dec. 1938), 40.
Signed: Miriam Dworkin.
B12 "Early Snow." The Varsity [Univ. of Toronto], 9 Dec. 1938, p. 10.
Signed: Miriam Dworkin.
B13 "Alone." The Undergraduate [Univ. College, Univ. of Toronto], 9, No. 2 (Spring 1939), 13.
Signed: Miriam Dworkin.
B14 "Experience in Loneliness." The Undergraduate [Univ. College, Univ. of Toronto], 9, No. 2 (Spring 1939), 58.
Signed: Miriam Dworkin.
B15 "Song: [Vows grow up like flowers . . .]." The Undergraduate [Univ. College, Univ. of Toronto], 9, No. 2 (Spring 1939), 19.
Signed: Miriam Dworkin.
B16 "Starch." The Undergraduate [Univ. College, Univ. of Toronto], 9, No. 2 (Spring 1939), 12.
Signed: Miriam Dworkin.
B17 "Woman at Evening." The Undergraduate [Univ. College, Univ. of Toronto], 9, No. 2 (Spring 1939), 31.
Signed: Miriam Dworkin.
B18 "The Zoo." The Undergraduate [Univ. College, Univ. of Toronto], 9, No. 2 (Spring 1939), 49.
Signed: Miriam Dworkin.
B19 "Dream Not of Heroes." The Canadian Forum, Sept. 1939, p. 188.
B20 "In Our Time." The Canadian Forum, April 1940, p. 9. CTC (revised, excerpt--"[The lilies are lying prone . . .]").
Originally signed: Miriam Dworkin Waddington.
B21 "Erosion." The Canadian Forum, March 1941, p. 385. SS (revised).
B22 "The Bond." Contemporary Verse, 1, No. 3 (March 1942), 10-11. GW (revised); DH (revised).
Originally signed: Miriam D. Waddington. See B637.
B23 "Immigrant, Second Generation." Contemporary Verse, 1, No. 3 (March 1942), 12. GT (revised--"Second Generation").
Originally signed: Miriam D. Waddington.
B24 "Ladies." Contemporary Verse, 1, No. 3 (March 1942), 12.
Signed: Miriam D. Waddington.
B25 "Contemporary." Contemporary Verse, 2, No. 5 (Sept. 1942), 13.
Signed: Miriam D. Waddington.
B26 "Shutters." Contemporary Verse, 2, No. 5 (Sept. 1942), 12-13.
Signed: Miriam D. Waddington.
B27 "Sorrow." Contemporary Verse, 2, No. 5 (Sept. 1942), 12. SS (revised); DH (revised--"House of Industry").
Originally signed: Miriam D. Waddington.
B28 "Investigator." Providence Journal [Rhode Island], 13 Sept. 1942, Sec. 5, p. 4. Rpt. (revised) in First Statement, 1, No. 17 ([April 1943]), 5. GW (revised); SS (revised); DH (revised).
B29 "Modern Movement in a Ballet." Providence Journal [Rhode Island], 13 Sept. 1942, Sec. 5, p. 4. GW (revised--"Ballet").
B30 "Uncertainties." Preview, Jan. 1943, p. 6. GW (revised); SS (revised).
Originally signed: Miriam D. Waddington.
B31 "Social Worker." First Statement, I, No. 13 ([Feb. 1943]), 10. SS (revised--"Folkways"); DH (revised).
B32 "Contrasts." Canadian Poetry Magazine, 6, No. 4 (March 1943), 29.
B33 "I Love My Love with an S...." Contemporary Verse, No. 7 (March 1943), p. 8.
Signed: Miriam D. Waddington.
B34 "Now We Steer." First Statement, I, No. 14 ([March 1943]), 9-10.
B35 "Proposal for Integration Toward a Common End." Contemporary Verse, No. 7 (March 1943), pp. 8-9. GW (revised--"Integration"); CTC (revised, excerpt--"[Does your mind...]"); DH (revised, expanded--"West Coast").
Originally signed: Miriam D. Waddington.
B36 "Time: [Like a green shower locked in a cloud...]." Iconograph [New Orleans], 8 (March 1943), n. pag.
B37 "Two Poems: (1). [Your oh so gentle hands...]." First Statement, 19 March 1943, p. 8.
B38 "Two Poems: (2). [With your words and your desperate gestures . . .]." First Statement, 19 March 1943, p. 8.
B39 "Portrait: [Lady by Renoir au bord de la Seine...]." First Statement, 14 May 1943, p. 2. GW; DH (revised).
B40 "Gimli." The Canadian Forum, July 1943, p. 82. GW (revised); DH (revised).
See B666 ("My Country 'Tis of Thee: [Gimli]" (excerpt).
B41 "Girls." Preview, No. 14 (July 1943), p. 3. GW (revised).
B42 "Into the Morning." The Canadian Forum, July 1943, p. 82. GW (revised).
B43 "The Crystal." Preview, No. 15 (Aug. 1943), p. 4. Rpt. (revised--"Green World") in Chicago Review, 16, No. 2 (Summer 1963), 73. GW (revised); CTC (revised--["When I step out and feel the green world...]"); DH (revised--"Green World One").
See B628 ("Green World 1").
B44 "Indoors." First Statement, Aug. 1943, p. 7.
B45 "The Lovers: [The pale net of her hair blowing in spring...]." Preview, No. 15 (Aug. 1943), p. 4. GW (revised--"Lovers: [The pale net of her hair blowing in spring...]"); PG (revised--"Ecstasy: [The pale net of her hair blowing in spring...]").
B46 "Poem." The Canadian Forum, Sept. 1943, p. 139.
B47 "Rocky Mountain Train." Preview, No. 17 (Dec. 1943), p. 3.
B48 "People." The Canadian Forum, Feb. 1944, p. 257.
B49 "Sympathy." First Statement, Feb. 1944, p. 11. GW (revised); DH (revised).
B50 "Festival." Canadian Poetry Magazine, 7, No. 3 (March 1944), 28. Rpt. (revised) in Direction [Outremont, P.Q.], No. 2 ([Oct. 1944]), p. 2.
B51 "Fragments from Autobiography." Contemporary Verse, No. 10 (April 1944), p. 10.
B52 "Prairie." Contemporary Verse, No. 10 (April 1944), pp. 9-10. CTC (revised--"[I am not Pacific...]").
B53 "The Sleepers." The Canadian Forum, April 1944, p. 11. GW (revised); CTC (revised, excerpt--"[he will bury...]").
B54 "Lake Superior." Canadian Poetry Magazine, 7, No. 4 (June 1944), 35. Rpt. (revised) in Chatelaine, Jan. 1977, p. 76.
B55 "Avenues." Direction [Outremont, P.Q.], No. 2 ([Oct. 1944]), p. 2.
B56 "Bastard Country Prospect." Direction [Outremont, P.Q.], No. 2 ([Oct. 1944]), p. 3.
B57 "The Hub." Direction [Outremont, P.Q.], No. 2 ([Oct. 1944]), p. 2.
B58 "People's Army." Direction [Outremont, P.Q.], No. 2 ([Oct. 1944]), p. 3. Rpt. (revised--"Partisans") in Canadian Poetry Magazine, 8, No. 2 (Dec. 1944), 25.
B59 "Snow-Whorls." Direction [Outremont, P.Q.], No. 2 ([Oct. 1944]), p. 3.
B60 "Letter to Margaret." The Canadian Forum, Nov. 1944, p. 187.
B61 "Strange Country." Direction [Outremont, P.Q.], No. 3 ([Dec. 1944]), p. 6.
B62 "In the Big City." First Statement, 2, No. 10 (Dec.-Jan. 1944-45), 15-16. Rpt. trans. Evelyne Voldeng ("Dans le grande cite") in Femme Plurielle. Ed. and trans. Evelyne Voldeng. [Ottawa]: Dept. d'Etudes Francaises, Carleton Univ., 1980, p. 57. GW (revised--"In the Big City"); CTC (revised--"[In the big city...]"); DH (revised--"In the Big City").
The 1980 publication also includes an English reprint (see B462).
B63 "Circles." Contemporary Verse, No. 12 (Jan. 1945), p. 13. GW (revised); SS (revised).
B64 "Problems: [Problems of loving pierce the autumn night...]." Contemporary Verse, No. 12 (Jan. 1945), p. 12. Rpt. (revised) in First Statement, 2, No. 11 (Feb.-March 1945), 21. SS (revised).
B65 "Where." Contemporary Verse, No. 12 (Jan. 1945), p. 12. GW (revised).
B66 "Cadenza." The Canadian Forum, Feb. 1945, p. 264. GW (revised).
B67 "In Exile." The Canadian Forum, March 1945, p. 287. CTC (revised--"[We'll turn the animals...]"); PG (revised--"In Exile").
B68 "Lullaby." First Statement, 2, No. 12 (April-May 1945), 29-30. Rpt. (revised) in Contemporary Poetry [Baltimore], 5, No. 2 (Summer 1945), 10. GW; SS (revised); DH (revised).
B69 "Morning until Night." The Canadian Forum, May 1945, p. 45. Rpt. (revised) in Experiment: A Quarterly of New Poetry [Salt Lake City, Utah], 2, No. 2 (Summer 1945), 37-38. GW; SS (revised); DH (revised).
B70 "Wonderful Country." Queen's Quarterly, 52 (May 1945), 214. SS (revised); DH (revised).
B71 "Oasis." Saturday Night, 5 May 1945, p. 2.
B72 "Changes." Saturday Night, 19 May 1945, p. 2.
B73 "Canadian Summer." Canadian Poetry Magazine, 8, No. 4 (June 1945), 18. GW (revised--"Summer in the Street"); DH (revised).
B74 "Thou Didst Say Me." Contemporary Poetry [Baltimore], 5, No. 2 (Summer 1945), 11. SS; DH (revised).
See B716.
B75 "Dog Days." The Canadian Forum, July 1945, p. 91. GW (revised).
B76 "adagio." Contemporary Verse, No. 15 (Oct. 1945), p. 14. SS (revised--"Adagio").
B77 "heart cast out." Contemporary Verse, No. 15 (Oct. 1945), p. 13.
B78 "Museum." The Canadian Forum, Dec. 1945, p. 216.
B79 "For My Teacher: 1." Contemporary Verse, No. 17 (April 1946), p. 6. SS (revised--"Three Poems for My Teacher: 1"); DH (revised).
B80 "For My Teacher: 2." Contemporary Verse, No. 17 (April 1946), pp. 6-7. SS (revised--"Three Poems for My Teacher: 2"); DH (revised).
B81 "For My Teacher: 3." Contemporary Verse, No. 17 (April 1946), p. 7. SS (revised--"Three Poems for My Teacher: 3"); CTC (revised--"[Beyond the white gothic of her smile]"); DH (revised--"Three Poems for My Teacher: 3").
B82 "Stillness." Contemporary Verse, No. 17 (April 1946), pp. 7-8.
B83 "Time's Large Ocean." Contemporary Verse, No. 17 (April 1946), pp. 8-9. SS (revised).
B84 "Interval." The Canadian Forum, May 1946, p. 39. SS (revised); DH (revised).
B85 "Growing." The Canadian Forum, July 1946, p. 87. SS (revised).
B86 "A Ballad for the Peace." The Canadian Forum, Aug. 1946, p. 107.
B87 "Lovers: [Lovers tread the waters, lovers go...]." Canadian Poetry Magazine, 10, No. 1 (Sept. 1946), 12. SS (revised); CTC (revised, excerpt--"[lovers tread the waters...]"); DH (revised, expanded--"Lovers: [Lovers tread the waters, lovers go...]").
B88 "The Music Teachers." Canadian Poetry Magazine, 10, No. 1 (Sept. 1946), 13-15. SS (revised); DH (revised).
B89 "Noon Hour Downtown." Canadian Poetry Magazine, 10, No. 1 (Sept. 1946), 15.
B90 "Night in October." Canadian Poetry Magazine, 10, No. 4 (June 1947), 39-41. SS (revised); DH (revised).
B91 "The Bread We Eat." The Canadian Forum, Dec. 1947, p. 210. SS (revised).
B92 "Soft Midnight of Summer." Canadian Poetry Magazine, 11, No. 4 (June 1948), 34-35.
B93 "Foundling." Outposts [Canadian Poetry Number], No. 10 (Summer 1948), pp. 12-13. Rpt. (revised) in The Canadian Forum, April 1949, p. 17. SS [revised--"Foundling (Myra)"].
B94 "Three Poems about Relationship: 1. The Beginning." Contemporary Verse, No. 26 (Fall 1948), p. 14. SS (revised--"Three Poems to a Pupil: 1").
B95 "Three Poems about Relationship: 2. Progressions." Contemporary Verse, No. 26 (Fall 1948), pp. 15-16. SS (revised--"Three Poems to a Pupil: 2").
B96 "Three Poems about Relationship: 3. Where We Are Now." Contemporary Verse, No. 26 (Fall 1948), pp. 16-17. SS (revised--"Three Poems to a Pupil: 3"); DH (revised--"Poem for a Pupil").
B97 "Charity." The Canadian Forum, April 1949, p. 17. SS (revised); DH (revised).
B98 "Dahlias." The Canadian Forum, Sept. 1949, p. 137.
B99 "St. Antoine Street: 1." Contemporary Verse, No. 31 (Spring 1950), pp. 17-18. SS (revised); DH (revised--"Saint Antoine Street: 1").
B100 "St. Antoine Street: 2." Contemporary Verse, No. 31 (Spring 1950), pp. 18-19. SS (revised); DH (revised--"Saint Antoine Street: 2").
B101 "St. Antoine Street: 3." Contemporary Verse, No. 31 (Spring 1950), p. 20. SS (revised).
B102 "Worlds." Contemporary Verse, No. 31 (Spring 1950), pp. 16-17. SS (revised).
B103 "Trip from the City." The Canadian Forum, July 1950, p. 90. SS (revised); DH (revised).
B104 "Catalpa." Contemporary Verse, No. 37 (Winter-Spring 1951-52), pp. 9-10. SS (revised--"Catalpa Tree"); DH (revised).
B105 "In the Park." Contemporary Verse, No. 37 (Winter-Spring 1951-52), p. 9. SS (revised); DH (revised).
B106 "Restricted." Contemporary Verse, No. 37 (Winter-Spring 1951-52), pp. 10-11. CTC (revised --"[They shall live in their country... ]").
B107 "Fables." CIV/n, No. 3 (1953), p. 1. SS (revised, expanded--"Fables of Birth").
B108 "Poems about War." The Canadian Forum, Jan. 1953, p. 233. SS (revised).
B109 "New Year's Concert." The Fiddlehead, No. 20 (Feb. 1954), p. 2. SS (revised).
B110 "Poem for a Three-Year-Old." Saturday Night, 27 Feb. 1954, p. 14.
B111 "The Sea Shell." Queen's Quarterly, 61 (Autumn 1954), 365. CTC (revised--"[When a shell forsaken...]"); DH (revised--"Seashell").
B112 "Bird's Hill." The Fiddlehead, No. 22 (Nov. 1954), pp. 5-6. SS (revised).
B113 "Portrait: [Here lamp my portrait in the mirror... ]." Queen's Quarterly, 63 (Spring 1956), 103.
B114 "Card Faces." The Fiddlehead, No. 28 (May 1956), p. 3.
B115 "Did You Me Dream." The Fiddlehead, No. 28 (May 1956), pp. 2-3. SL (revised).
B116 "The Follower." The Fiddlehead, No. 28 (May 1956), p. 2. GT (revised).
B117 "Quiet Go to Midnight." The Fiddlehead, No. 28 (May 1956), pp. 3-4.
B118 "Jonathan Travels." The Fiddlehead, No. 29 (Aug. 1956), p. 8. SL (revised).
B119 "Prison Worker." The Canadian Forum, Oct. 1956, p. 157.
B120 "Looking at Paintings (Louis Muhlstock's)." The Fiddlehead, No. 30 (Nov. 1956), p. 6. GT (revised--"Looking at Paintings").
B121 "Studio on Ste. Famille Street." The Fiddlehead, No. 30 (Nov. 1956), p. 6.
B122 "Departure." The Dalhousie Review, 35 (Winter 1956), 339.
B123 "Going Away and Coming Back." Canadian Poetry Magazine, 20, No. 2 (Winter 1956-57), 24.
B124 "Housing Development." Canadian Poetry Magazine, 20, No. 2 (Winter 1956-57), 22-23.
B125 "Winnipeg." Canadian Poetry Magazine, 20, No. 2 (Winter 1956-57), 6-7. SL (revised).
B126 "Three Prison Portraits: The Addict." Journal of Social Work Process, 8 (1957), 59. SL (revised--"Three Prison Portraits: 2. The Drug Addict"); DH (revised--"Two Prison Portraits: 2. The Drug Addict").
B127 "Three Prison Portraits: The Alcoholic." Journal of Social Work Process, 8 (1957), 59. SL (revised--"Three Prison Portraits: 1. The Alcoholic"); DH (revised--"Two Prison Portraits: 1. The Alcoholic").
B128 "Three Prison Portraits: The Non-Supporter." Journal of Social Work Process, 8 (1957), 60. SL (revised--"Three Prison Portraits: 3. The Non Supporter").
B129 "The Orator." Nation, 20 April 1957, p. 350. SL (revised).
B130 "The Wound." The Fiddlehead, No. 32 (May 1957), p. 23. SL (revised--"No Earthly Lover").
B131 "The Women's Jail." Nation, 11 May 1957, p. 426. SL (revised); DH (revised).
B132 "The Journeying." The Tamarack Review, No. 4 (Summer 1957), p. 31. GT (revised); DH (revised).
B133 "Never." The Tamarack Review, No. 4 (Summer 1957), p. 30. SL (revised--"You Are My Never"); DH (revised).
B134 "Ordinary Death." The Tamarack Review, No. 4 (Summer 1957), p. 31.
B135 "Signature (to M. M.)." The Tamarack Review, No. 4 (Summer 1957), p. 32.
B136 "Sympathy for a Bad Painter." The Tamarack Review, No. 4 (Summer 1957), p. 32.
B137 "Limited Perspectives." The Fiddlehead, No. 33 (Aug. 1957), p. 18.
B138 "Myth Etcetera." The Canadian Forum, Oct. 1957, p. 159.
B139 "Elegy for John Sutherland." The Fiddlehead, No. 35 (Winter 1958), p. 4. SL (revised--"An Elegy for John Sutherland").
B140 "Endings: [Those I thought I was indifferent to . . .]." New Orleans Poetry Journal, 4, No. 1 (1958), 30-31.
B141 "The Midsummer Garden." Pan-ic: A Selection of Contemporary Canadian Poems. Ed. Irving Layton. [Pan (New York), No. 2 (1958)], n. pag. GT (revised).
B142 "My Lessons in the Jail." Pan-ic: A Selection of Contemporary Canadian Poems. Ed. Irving Layton. [Pan (New York), No. 2 (1958)], n. pag. SL (revised); DH (revised).
B143 "The Season's Lovers." The Week-end Review [New Statesman], 8 Feb. 1958, p. 172. SL (revised); DH (revised).
See B690 ("The Making of a Poem").
B144 "Artist and Subject." The Fiddlehead, No. 36 (Spring 1958), p. 12.
B145 "When World Was Wheelbarrow." Queen's Quarterly, 65 (Spring 1958), 76. SL (revised).
B146 "Exchange." Harper's Magazine, May 1958, p. 58. SL (revised); DH (revised).
See B687.
B147 "Carnival." Queen's Quarterly, 66 (Spring 1959), 1. GT (revised--"Carnival: For Ghitta Caisermann").
B148 "The Survivors." Midstream, 5 (Spring 1959), p. 88. GT (revised).
B149 "The Snows of William Blake." Queen's Quarterly, 66 (Summer 1959), 280. GF (revised); DH (revised).
B150 "Ballad for a Broadsheet." The Canadian Forum, July 1959, p. 95.
B151 "Absent Space." The Dalhousie Review, 38 (Winter 1959), 509.
B152 "Driving to Work." The Fiddlehead, No. 45 (Spring 1960), p. 11.
B153 "Lament on My Fortieth Birthday." Delta [Montreal], No. 11 (Spring 1960), pp. 23-24. GT (revised--"On My Birthday").
B154 "Above the Seaway." Queen's Quarterly, 67 (Summer 1960), 239.
B155 "At Night." The Fiddlehead, No. 45 (Summer 1960), p. 19. CTC (revised--"[rootless slumber stemless lies . . .]").
B156 "The Boughs of Snow." The Fiddlehead, No. 45 (Summer 1960), p. 21. CTC (revised--"[I look up through boughs of snow . . .]").
B157 "The Crucifix in Prison." The Fiddlehead, No. 45 (Summer 1960), p. 12. Rpt. (revised--"Christ in a Loin Cloth") in The Fiddlehead, No. 68 (Spring 1966), pp. 21-22. GT (revised); DH.
B158 "Homage to Apollinaire." The Fiddlehead, No. 45 (Summer 1960), p. 22. GT (revised--"Homage to Apollinaire with Some Words by John Dowland").
B159 "In a Balkan Cemetery." Waterloo Review [London, Ont.], No. 5 (Summer 1960), p. 41. GT (revised--"A Balkan Cemetery").
B160 "The Lawbreakers." The Fiddlehead, No. 45 (Summer 1960), p. 13.
B161 "Montreal Night." The Fiddlehead, No. 45 (Summer 1960), p. 14.
B162 "Mourning for Lost Causes." The Fiddlehead, No. 45 (Summer 1960), p. 20.
B163 "Penelope in Toronto." Waterloo Review [London, Ont.], No. 5 (Summer 1960), p. 40. CTC (revised--"[Penelope among the dandelions stood...]").
B164 "Pleasures from Children." The Fiddlehead, No. 45 (Summer 1960), p. 15. GT (revised); DH (revised).
B165 "Prairie Images." The Tamarack Review, No. 16 (Summer 1960), p. 35. GT (revised--"The Mile Runner"); DH.
B166 "Sea Bells." The Tamarack Review, No. 16 (Summer 1960), p. 36. GT (revised); DH (revised).
B167 "The Shape of Buildings." The Fiddlehead, No. 45 (Summer 1960), p. 10.
B168 "The Stepmother." The Fiddlehead, No. 45 (Summer 1960), p. 16.
B169 "Surcease." The Fiddlehead, No. 45 (Summer 1960), p. 19.
B170 "Three Worlds." The Fiddlehead, No. 45 (Summer 1960), pp. 17-18.
B171 "Night on Skid Row." The Dalhousie Review, 39 (Winter 1960), 526-28. G T (revised); DH (revised).
B172 "Four Poems of Toronto: A Song of North York between Sheppard and Finch." The Tamarack Review, No. 24 (Summer 1962), p. 47. GT (revised--"A Song of North York between Sheppard and Finch"); DH (revised).
See B623.
B173 "Four Poems of Toronto: Returning to Toronto." The Tamarack Review, No. 24 (Summer 1962), p. 46. GT (revised--"Returning to Toronto").
See B621.
B174 "Four Poems of Toronto: Saints and Others." The Tamarack Review, No. 24 (Summer 1962), pp. 49-50. GT (revised--"Saints and Others"); DH (revised).
See B622.
B175 "Four Poems of Toronto: Toronto the Golden Vaulted City." The Tamarack Review, No. 24 (Summer 1962), pp. 48-49. Rpt. (revised--"Toronto the Golden-Vaulted City") in Earth and You [Toronto], 3, Nos. 17-18 (1971), 34-35. GT (revised); DH.
See B624.
B176 "Camping." Queen's Quarterly, 69 (Autumn 1962), 360. GT (revised); DH (revised).
See B617.
B177 "Poems by the Ladies: Piano Phrases in January." Evidence, No. 7 ([1963]), pp. 92-93.
See B618 ("Piano Phrases in January").
B178 "Poems by the Ladies: The Forsythia Bush." Evidence, No. 7 ([1963]), pp. 91-92. Rpt. (revised--"The Forsythia Bush") in English, 19, No. 103 (Spring 1970), 12-13.
See B626.
B179 "The Land Where He Dwells In." Chicago Review, 16, No. 2 (Summer 1963), 71-72. GT (revised); DH (revised).
See B640.
B180 "City Lover." Envoi: A Quarterly Review of New Poetry [Cheltenham, Eng.], No. 23 [1964?], p. 6.
B181 "The Gardeners." Canadian Poetry Magazine, 27 (Feb. 1964), 27-28. GT (revised); DH (revised).
See B627.
B182 "Brotherly Love on Sherbrooke Street." The Tamarack Review, No. 32 (Summer 1964), p. 86. GT (revised).
B183 "Green World Two." The Tamarack Review, No. 32 (Summer 1964), p. 88. Rpt. in Green World: A Suite of Six Etchings. By Tobie Steinhouse. Montreal: Guilde Graphique, 1977, n. pag. GT (revised); DH (revised).
See B629 ("Green World II").
B184 "The Terrarium." The Tamarack Review, No. 32 (Summer 1964), pp. 84-85. GT (revised).
B185 "Things of the World." The Tamarack Review, No. 32 (Summer 1964), p. 87. GT (revised); DH (revised).
See B630.
B186 "Displacements." Volume 63 [Univ. of Waterloo], No. 2 (Oct. 1964), pp. 8-9.
B187 "The Field of Night." The Canadian Forum, Oct. 1964, p. 152. GT (revised--"The Field of Night: For Philip Surrey"); DH (revised).
B188 "Pictures in a Window." Volume 63 [Univ. of Waterloo], No. 2 (Oct. 1964), p. 10. GT (revised).
See B619.
B189 "Selma and the Rest of It." The Canadian Forum, April 1965, p. 10. GT (revised--"Selma").
B190 "The Far City." The Literary Review [Fairleigh Dickinson Univ., Teaneck N.J.], [Canada Number], 8 (Summer 1965), 570-71. GT (revised).
B191 "The Bright Room." Quarry, 15, No. 1 (Sept. 1965), 9. GT (revised).
B192 "Prairie Thoughts in a Museum: 1." Quarry, 15, No. 1 (Sept. 1965), 10. GT (revised--"Prairie Thoughts in a Museum: 1. The Picture").
See B634 ("The Picture").
B193 "Prairie Thoughts in a Museum: 2." Quarry, 15, No. 1 (Sept. 1965), 10. GT (revised--"Prairie Thoughts in a Museum: 2. The People").
B194 "Prairie Thoughts in a Museum: 3." Quarry, 15, No. 1 (Sept. 1965), 11. GT (revised--"Prairie Thoughts in a Museum: 3. The Picture").
See B635 ("The Picture").
B195 "Prairie Thoughts in a Museum: 4." Quarry, 15, No. 1 (Sept. 1965), 11. GT (revised--"Prairie Thoughts in a Museum: 4. The People").
See B633 ("The People").
B196 "Goodbye Song." Quarry, 15, No. 2 (Nov. 1965), 16-17. GT (revised); DH (revised).
B197 "Hart Crane." Quarry, 15, No. 2 (Nov. 1965), 16. GT (revised).
B198 "Remembering You." Prism International, 5, Nos. 3-4 (Winter-Spring 1966), 9. GT (revised); DH (revised).
B199 "Summer Letters." The Canadian Forum, March 1966, p. 271. GT (revised); DH.
B200 "Beyond Brick. The Fiddlehead, No. 68 (Spring 1966), p. 12. GT (revised--"Seeing Beyond Brick").
B201 "East on Dorchester Street." The Fiddlehead, No. 68 (Spring 1966), p. 19.
B202 "From a Dead Poet's Book." The Fiddlehead, No. 68 (Spring 1966), pp. 20-21. GT (revised); DH (revised).
See B620 ("Poems for Two Voices").
B203 "The Hook." The Fiddlehead, No. 68 (Spring 1966), p. 17.
B204 "In Mirrors and Dawns." The Fiddlehead, No. 68 (Spring 1966), p. 11. GT (revised--"Winter Two").
B205 "Miriam, You Must Cast the Scholar Off." The Fiddlehead, No. 68 (Spring 1966), pp. 14-16. CTC (revised--"[Of all my broken . . .]").
B206 "New Year's Day." The Fiddlehead, No. 68 (Spring 1966), p. 14. GT (revised); DH (revised).
See B632.
B207 "To Those Who Run in Fields." The Fiddlehead, No. 68 (Spring 1966), pp. 18-19. Rpt. (revised--"All Those Who Run in Fields") in New: American and Canadian Poetry, No. 3 (April 1967), pp. 4-5. SY (revised).
B208 "The Wintry Man." The Fiddlehead, No. 68 (Spring 1966), pp. 12-13. CTC (revised, excerpt--"[Dark is the winter water...]").
B209 "Incidents for the Undying World." The Tamarack Review, No. 40 (Summer 1966), pp. 30-32. GT (revised).
B210 "Saints and Bibliographers." The Tamarack Review, No. 40 (Summer 1966), pp. 32-34. GT (revised).
See B636.
B211 "From a Train Window." Adam International Review, Nos. 313-14-15 (1967), p. 42. SY (expanded--"From a Train Window: 1-3").
B212 "Notations: 1." Wascana Review, 2, No. 1 (1967), 31. SY (revised--"The Wakened Wood: 1").
B213 "Notations: 2." Wascana Review, 2, No. l (1967), 31. SY (revised--"The Wakened Wood: 2"); MN (revised--"Mister Never in Winnipeg").
B214 "Notations: 3." Wascana Review, 2, No. 1 (1967), 31. SY (revised--"The Wakened Wood: 3").
B215 "Notations: 4." Wascana Review, 2, No. 1 (1967), 32. Rpt. (revised--"Putting On and Taking Off: You as the Baffled Glance") in Excalibur [York Univ.], 17 Feb. 1967, p. 4. SY (revised--"The Wakened Wood: 4"); MN (revised--"Mister Never in the Chekhov Museum in Moscow").
B216 "Notations: 5." Wascana Review, 2, No. 1 (1967), 32. Rpt. (revised--"You as Flowering Logs on the Gatineau") in Excalibur [York Univ.], 17 Feb. 1967, p. 4. SY ("The Wakened Wood: 5"); MN ("Mister Never in Ottawa").
B217 "My Travels." Viewpoints, 2, No. 3 (1967), 54. Rpt. (revised--"Putting On and Taking Off: My Travels") in Excalibur [York Univ.], 17 Feb. 1967, p. 4. SY (revised--"My Travels"); DH (revised).
See B645.
B218 "Landscape." Saturday Night, Feb. 1967, p. 23. Rpt. (revised--"How We Hung") in New Measure [Northwood, Middlesex], No. 5 (Spring 1967), pp. 5-6. Rpt. (revised--"Waking") in Chatelaine, Oct. 1972, p. 104. CTC (revised--"[Love . . .]"); SY (revised--"Waking"); DH (revised).
B219 "Putting On and Taking Off: The Eight-sided White Barn." Excalibur [York Univ.], 17 Feb. 1967, p. 5. Rpt. (revised--"The Eight-sided White Barn") in Imperial Oil Review, 52, No. 1 (Feb. 1968), 25. Rpt. (revised--"The Eightsided White Barn") in Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 3, No. 1 (June 1968), 52. SY (revised--"The Eight-Sided White Barn"); DH (revised).
B220 "Putting On and Taking Off: Leaf." Excalibur [York Univ.], 17 Feb. 1967, p. 5. Rpt. ("Leaf") in New Measure [Northwood, Middlesex], No. 9 (Summer 1968), p. 50. SY (revised).
B221 "Putting On and Taking Off: Pont Mirabeau in Montreal." Excalibur [York Univ.], 17 Feb. 1967, p. 5. Rpt. (revised--"Pont Mirabeau in Montreal") in New Measure [Northwood, Middlesex], No. 10 (Late Final Issue 1969), p. 63. SY (revised); DH (revised).
B222 "Putting On and Taking Off: Putting On and Taking Off." Excalibur [York Univ.], 17 Feb. 1967, p. 5. PG (revised--"Putting On and Taking Off").
B223 "Putting On and Taking Off: Runners." Excalibur [York Univ.], 17 Feb. 1967, p. 5. DT ("Runners").
See B641.
B224 "Putting On and Taking Off: You as Real." Excalibur [York Univ.], 17 Feb. 1967, p. 4. SY (revised--"You as Real").
B225 "Child Hockey Players." Saturday Night, March 1967, p. 49. CTC (revised--"[Stiff as flowers...]"); DH (revised--"The Hockey Players").
See B639.
B226 "Autumn Baskets." New Measure [Northwood, Middlesex], No. 5 (Spring 1967), p. 7. CTC (revised--"[Old woman cabbage queen...]"; PG (revised--"Portrait: Old Woman").
B227 "Design." New Measure [Northwood, Middlesex], No. 5 (Spring 1967), p. 6. CTC (revised--"[Through the dark trumpets...]"); PG (revised--"Trumpets").
B228 "Games: I." New Measure [Northwood, Middlesex], No. 5 (Spring 1967), p. 8.
B229 "Games: II." New Measure [Northwood, Middlesex], No. 5 (Spring 1967), p. 8. CTC (revised--"[In the cold salt mines of the sea...]").
B230 "Laughter." New Measure [Northwood, Middlesex], No. 5 (Spring 1967), p. 9. CTC (revised--"[We are light . . .]"); SY (revised--"Laughter"); DH (revised).
B231 "Tattoo Man." New Measure [Northwood, Middlesex], No. 5 (Spring 1967), p. 6. CTC (revised--"[In the house of maimed desire...]").
B232 "Women Who Live Alone." New Measure [Northwood, Middlesex], No. 5 (Spring 1967), p. 8. SY (revised).
B233 "A Good Man." New: American and Canadian Poetry, No. 3 (April 1967), pp. 5-6. Rpt. (revised--"A Good Man and a Passionate Woman") in Saturday Night, June 1978, p. 51. Rpt. (revised--"Disposing of Mister Never as a Good Man") in Canadian Women's Studies/Les cahiers de la femmes [Centennial College], 1, No. 3 (Spring/printemps 1979), 109. MN; Vis. (revised--"A Good Man and a Passionate Woman").
B234 "When You Paint My Portrait." New: American and Canadian Poetry, No. 3 (April 1967), p. 7.
B235 "The Apollo Tree." Canadian Literature, No. 35 (Winter 1968), p. 76. Rpt. in New Measure [Northwood, Middlesex], No. 9 (Summer 1968), p. 50. SY (revised--"Apollo Tree").
B236 "The Magician." Wascana Review, 3, No. 1 (1968), 20-22. SY (revised).
B237 "A Morning Like the Morning When Amos Awoke." Wascana Review, 3, No. 1 (1968), 23-24. SY (revised).
B238 "The Little Fringes." Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 3, No. 1 (June 1968), 53. Rpt. in New Measure [Northwood, Middlesex], No. 9 (Summer 1968), p. 51. Rpt. in The Malahat Review, No. 8 (Oct. 1968), p. 15. SY (revised).
See B689.
B239 "Dark." New Measure [Northwood, Middlesex], No. 9 (Summer 1968), p. 52. Rpt. (revised) in The Far Point, No. 1 (Fall-Winter 1968), p. 40. SY.
B240 "Canadians." Saturday Night, July 1968, p. 24. CTC (revised--"[Here are...]"); DH (revised--"Canadians").
See B638.
B241 "Breaking with Tradition." The Far Point, No. 1 (Fall-Winter 1968), pp. 41-42. SY (revised).
B242 "Ukranian Church." The Far Point, No. 1 (FallWinter 1968), pp. 38-39. CTC (revised--"[Little father your...]"); SY (revised--"Ukranian Church"); DH (revised).
B243 "About Free Rides." The Tamarack Review, Nos. 50-51 (1969), pp. 44-47. SY (revised).
See B643.
B244 "Circus Stuff." Wascana Review, 4, No. 1 (1969), 37-39. SY (revised).
B245 "Dancing." Black Moss [Windsor, Ont.], 1, No. 1 (1969), 6. Rpt. (revised) in Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 4, No. 1 (June 1969), 53. SY (revised).
B246 "Icons." The Tamarack Review, Nos. 50-51 (1969), pp. 41-44. SY (revised); DH (revised).
B247 "Looking for Strawberries in June." The Tamarack Review, Nos. 50-51 (1969), pp. 49-51. Rpt. (revised) in Canadian Dimension, 6, Nos. 3-4 (Aug.-Sept. 1969), 47. SY (revised); DH (revised).
B247a "Time: [ageless is my love...]." Black Moss [Windsor, Ont.], 1, No. 1 (1969), 7. SY (revised).
See B657 ("Last Love").
B248 "Waiting in Alberta." The Tamarack Review, Nos. 50-51 (1969), p. 49. SY.
See B661.
B249 "The Woman in the Blue Hat." Wascana Review, 4, No. 1 (1969), 39-40. Rpt. (revised) in Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 4, No. 1 (June 1969), 51-52. SY (revised).
B250 "Transition." Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 4, No. 1 (June 1969), 52. SY.
B251 "Waking in London: 1." Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 4, No. 1 (June 1969), 49. SY.
B252 "Waking in London: 2." Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 4, No. 1 (June 1969), 49-50. Rpt. (revised--"Walking in London One") in The Canadian Forum, April-May 1970, p. 21. Rpt. in Canadian Literature, No. 52 (Spring 1972), [back cover]. SY (revised--"Waking in London: 2").
B253 "Waking in London: 3."Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 4, No. 1 (June 1969), 50. SY.
B254 "Waking in London: 4." Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 4, No. 1 (June 1969), 50-51. SY.
B255 "A Landscape of John Sutherland." Canadian Literature, No. 41 (Summer 1969), pp. 85-86. DT (revised--"The Landscape of John Sutherland"); DH (revised--"A Landscape of John Sutherland").
See B678 ("A Landscape for John Sutherland").
B256 "How Each One Becomes Another in the Early World." New Measure [Northwood, Middlesex], No. 10 (Late Final Issue 1969), pp. 63-64. SY (revised).
B257 "Swallowing Darkness Is Swallowing Dead Elm Trees." West Coast Review [Simon Fraser Univ.], 3, No. 3 (Winter 1969), 20. SY (revised).
B258 "Anxious." In Made in Canada: New Poems of the Seventies. Ed. and preface Raymond Souster and Douglas Lochhead. Ottawa: Oberon, 1970, p. 185. DH (revised).
B259 "All on an Easter Morning." In Made in Canada: New Poems of the Seventies. Ed. and preface Raymond Souster and Douglas Lochhead. Ottawa: Oberon, 1970, p. 185. DH (revised--"The World on Easter Morning").
See B675.
B260 "Don't Say Anything." Poetry Review [London, Eng.], 61, No. 1 (Spring 1970), 45. PG (revised--"Don't Say Anything: For W. T.").
B261 "Song for Sleeping People." Poetry Review [London, Eng.], 61, No. 1 (Spring 1970), 44-45. DH (revised).
See B684.
B262 "Eavesdropping." The Canadian Forum, April-May 1970, p. 56. DT (revised); DH (revised).
See B665 ("My Country 'Tis of Thee: [Eavesdropping]").
B263 "Language as I used to believe in it." The Canadian Forum, April-May 1970, p. 58. DH (revised--"Language as I Used to Believe in It").
B264 "The Nineteen Thirties Are Over." Saturday Night, Sept. 1970, p. 50. DH (revised).
See B681.
B265 "Transformations." In 40 Women Poets of Canada. Ed. Dorothy Livesay and Seymour Mayne. Montreal: Ingluvin, 1971, p. 137. Rpt. in Queen's Quarterly, 79 (Spring 1972), 58. DH (revised).
See B674 ("My Country 'Tis of Thee: [Transformations]").
B266 "Song: Elijah." Midstream, March 1971, p. 56. DT (revised--"Elijah"); DH (revised--"Song: Elijah").
B267 "Polemics." Excalibur [York Univ.], 18 March 1971, p. 13. Rpt. (revised) in Journal of Canadian Studies, 6, No. 4 (Nov. 1971), 53. DH (revised).
B268 "Sad Winter in the Land of Can Lit." Excalibur [York Univ.], 18 March 1971, p. 13. Rpt. (revised--"Sad Winter in the Land of CanLit") in Journal of Canadian Studies, 6, No. 4 (Nov. 1971), 51-52. DH (revised--"Sad Winter in the Land of Can. Lit.").
B269 "Utmost." Excalibur [York Univ.], 18 March 1971, p. 13. Rpt. (revised--"The Land of Utmost") in Journal of Canadian Studies, 6, No. 4 (Nov. 1971), 52. PG.
B270 "Lately I've been feeling very Jewish." Viewpoints: A Canadian Jewish Quarterly, 6, No. 1 (Spring 1971), 18.
B271 "Protocol." Viewpoints: A Canadian Jewish Quarterly, 6, No. 1 (Spring 1971), 49.
B272 "Why Should I Care About the World." Viewpoints: A Canadian Jewish Quarterly, 6, No. 2 (Summer 1971), 44. Rpt. (revised) in New: American and Canadian Poetry, No. 17 (Dec.-Jan. 1971-72), pp. 4-5. DH (revised--"Why Should I Care about the World").
B273 "Spring Song." Saturday Night, Aug. 1971, p. 38. DH (revised--"I Wish My Life Was a Movie").
B274 "Return." Midstream, Aug.-Sept. 1971, p. 58. DH (revised--"The Following").
B275 "Fence Post." New: American and Canadian Poetry, No. 16 (Sept.-Oct. 1971), pp. 56-57. Rpt. (revised) in Queen's Quarterly, 79 (Spring 1972), 58-59. DH (revised).
See B677.
B276 "Lights." The Malahat Review, No. 20 (Oct. 1971), pp. 120-21. DH (revised).
See B670 ("My Country 'Tis of Thee: [Lights]").
B277 "My Kind of Internationalism." Journal of Canadian Studies, 6, No. 4 (Nov. 1971), 52-53.
B278 "Testing Free Enterprise." Journal of Canadian Studies, 6, No. 4 (Nov. 1971), 53-54.
B279 "Signs." Saturday Night, Feb. 1972, p. 10. DH (revised).
See B683.
B280 "Back at York." Impulse, 1, No. 3 (Spring 1972), 7-8. PG (revised--"Back at York University").
B281 "The Dead Lakes of Sudbury." Impulse, 1, No. 3 (Spring 1972), 6-7. Rpt. ("The Dead Lakes") in Copperfield [Edmonton], No. 4 (Oct. 1972), p. 10. DH (revised--"Dead Lakes").
See B663 ("My Country 'Tis of Thee: [The Dead Lakes of Sudbury]").
B282 "Moscow Roses." Impulse, 1, No. 3 (Spring 1972), 41. DH (revised); MN (revised--"Mister Never on the Toronto Subway").
B283 "Advice to the Young." Saturday Night, July 1972, p. 6. DH (revised).
B284 "Ending: [The big winds...]." The Literary HalfYearly [Univ. of Mysore, India], [Canadian Number], 13, No. 2 (July 1972), 229. PG (revised-"Ending: [The big winds...]").
B285 "Gift: Venus 240 in Virgo." The Literary Half-Yearly, [Univ. of Mysore, India], [Canadian Number], 13, No. 2 (July 1972), 229-30. DH (revised--"Gift: Venus 24 Degrees in Virgo: For Edmund Haines").
B286 "In the Small Towns." The Literary Half-Yearly [Univ. of Mysore, India], [Canadian Number], 13, No. 2 (July 1972), 227-28. DH (revised--"In Small Towns").
B287 "New Religions." The Literary Half-Yearly [Univ. of Mysore, India], [Canadian Number], 13, No. 2 (July 1972), 232. DH (revised).
B288 "Origins." The Literary Half-Yearly [Univ. of Mysore, India], [Canadian Number], 13, No. 2 (July 1972), 228. DH.
B289 "Song from a Cycle." The Literary Half-Yearly [Univ. of Mysore, India], [Canadian Number], 13, No. 2 (July 1972), 231. Rpt. (revised--"Praise") in Chatelaine, Jan. 1973, p. 46. PG (revised--"A Space of Love"); MN (revised--"Loving Mister Never").
B290 "Between Cities." The Canadian Forum, Sept. 1972, p. 20. DH (revised).
See B676.
B291 "Finding Amos in Jerusalem." The Canadian Forum, Sept. 1972, p. 21. DH (revised).
See B706.
B292 "Imitations." The Canadian Forum, Sept. 1972, p. 23. DH (revised).
B293 "In France I Dream More Than in Other Countries." The Canadian Forum, Sept. 1972, p. 22. Rpt. (revised--"In France I Dream More") in rune [St. Michael's College, Univ. of Toronto], No. 3 (Spring 1976), pp. 54-55. MN (revised-"Dreaming of Mister Never").
B294 "Letter to Jamaica." The Canadian Forum, Sept. 1972, p. 21.
B295 "Provincial." The Canadian Forum, Sept. 1972, p. 23. DH (revised).
See B680 ("[My childhood . . .]").
B296 "Tapestry: [Rags, beads, birds'...]." The Canadian Forum, Sept. 1972, p. 22. DH (revised--"Tapestry: For Helen Duffy. [Rags, beads, birds'...]").
B297 "Whittling." The Canadian Forum, Sept. 1972, p. 22. DH (revised--"Totems").
B298 "Little Prairie Pictures." prairie places and spaces [artscanada, 29, No. 3 (Early Autumn 1972)], p. 19. Rpt. (revised--"The Desert of Sinai") in Midstream, Oct. 1972, p. 64. PG (revised--"Little Prairie Pictures").
B299 "Rivers." Saturday Night, Oct. 1972, p. 44. PG (revised).
See B691.
B300 "October 1970." The Globe and Mail [Toronto], 7 Oct. 1972, Sec. Entertainment/Travel, p. 35. PG (revised).
See B694.
B301 "Downtown Streets." Impulse, 2, Nos. 3-4 (1973)--Porcepic, 1, No. 2 (1973), 118-19. PG (revised).
See B686.
B302 "Divination." Descant, No. 6 (Spring 1973), p. 5. Rpt. ("Divinations") in The Tamarack Review, No. 62 (First Quarter 1974), p. 57. PG.
B303 "Forest Poem." Descant, No. 6 (Spring 1973), p. 6. Rpt. (revised) in Ariel, 4, No. 3 (July 1973), 57. PG (revised).
B304 "Legends." Queen's Quarterly, 80 (Spring 1973), 48. PG (revised).
B305 "Love: Canadian Style." Descant, No. 6 (Spring 1973), pp. 6-7. PG (revised--"Beau-Belle").
See B695 ("Song of the Times").
B306 "Lovers: [Sam promises: lose 20 lbs...]." Queen's Quarterly, 80 (Spring 1973), 48. PG (revised).
B307 "Past the Ice Age." Descant, No. 6 (Spring 1973), p. 4. Vis. (revised).
B308 "Charlottetown." Impulse, 3, No. 1 (Fall 1973), 4. PG (revised).
See B692.
B309 "The Dark Lake." Impulse, 3, No. l (Fall 1973), 5. PG (revised).
B310 "Absences." The Tamarack Review, No. 62 (First Quarter 1974), p. 60. PG.
B311 "National Treasures in Havana." The Tamarack Review, No. 62 (First Quarter 1974), pp. 64-65. Rpt. (revised) in Modern Poetry Studies, 5, No. 2 (Autumn 1974), 201-02. PG (revised).
See B693.
B312 "Ten Years and More." The Tamarack Review, No. 62 (First Quarter 1974), pp. 59-60. PG (revised).
See B696.
B313 "This Year in Jerusalem." The Tamarack Review, No. 62 (First Quarter 1974), pp. 56-57. PG (revised).
See B697.
B314 "Tourists." The Tamarack Review, No. 62 (First Quarter 1974), p. 63. PG (revised).
See B698.
B315 "Two Trees." The Tamarack Review, No. 62 (First Quarter 1974), p. 61. Rpt. (revised) in Queen's Quarterly, 83 (Summer 1976), 233. PG (revised).
B316 "Wives' Tales." The Tamarack Review, No. 62 (First Quarter 1974), pp. 58-59. PG.
See B700.
B317 "Words." The Tamarack Review, No. 62 (First Quarter 1974), p. 62. PG (revised--"Harvest").
B318 "Spring." Saturday Night, Feb. 1974, p. 8. PG (revised).
B319 "Poets Are Still Writing Poems about Spring and Here Is Mine: Spring." Waves, 3, No. 3 (Spring 1975), 26-27. PG (revised).
See B701.
B320 "Utopia." Waves, 3, No. 3 (Spring 1975), 27. MN (revised--"A Monument for Mister Never").
B321 "The Morning Mail." Saturday Night, May 1975, p. 15. PG (revised--"Friends").
B322 "By the Sea: For A. M. Klein." Canadian Literature, No. 65 (Summer 1975), pp. 53-54. PG (revised).
B323 "Husbands." The Canadian Forum, Sept. 1975, p. 11. PG (revised).
See B709.
B324 "A London Night." The Canadian Forum, Sept. 1975, p. 11. PG (revised--"London Night").
B325 "The Dead." Saturday Night, March 1976, p. 16. PG (revised).
B326 "Home." rune [St. Michael's College, Univ. of Toronto], No. 3 (Spring 1976), pp. 53-54. PG (revised--"Tallness and Darkness").
B327 "Notes of Summer." University of Windsor Review, II, No. 2 (Spring-Summer 1976), 84. PG (revised).
B328 "Old Chair Song." University of Windsor Review, II, No. 2 (Spring-Summer 1976), 85. PG (revised).
B329 "Naive Geography." Queen's Quarterly, 83 (Summer 1976), 232. Rpt. (revised--"Popular Geography") in The English Quarterly, 10, No. 2 (Summer 1977), 76. PG.
B330 "Winnipeg and Leningrad." Queen's Quarterly, 83 (Summer 1976), 231. PG (revised--"Deja Vu").
B331 "Old Wood." Chatelaine, Dec. 1976, p. 57.
B332 "Real Estate (Poem for Voices)." CV/II, 2, No. 4 (Dec. 1976), 16. Vis. (revised--"Real Estate: Poem for Voices").
B333 "Artists and Old Chairs." Canadian Literature, No. 71 (Winter 1976), pp. 79-81. PG (revised--"Artists and Old Chairs: For Helen Duffy").
B334 "Running Up and Down Mountains at Changing Speeds." Room of One's Own, 3, No. 1 (1977), 8-9. Vis. (revised).
B335 "When the Shoe Is on the Other Foot for a Change." Room of One's Own, 3, No. 1 (1977), 10. Vis. (revised).
B336 "Prairie." NeWest Review, 2, No. 8 (April 1977), 7. Vis.
B337 "A Few Lyrics for the Season--Warnings from Captain Arctic." Toronto Life, Oct. 1977, p. 69. Vis. (revised--"Warnings").
B338 "A Few lyrics for the Season--Horoscopes." Toronto Life, Oct. 1977, p. 69. Vis. (revised--"Horoscopes").
B339 "Playing." The Canadian Forum, Nov. 1977, p. 38. MN (revised--"Mister Never Playing"); Vis. (revised--"Playing").
B340 "Certain Winter." The Tamarack Review, No. 74 (Spring 1978), pp. 49-50. MN (revised--"Certain Winter Meditations on Mister Never"); Vis. (revised--"Certain Winter").
B341 "Feasts." The Tamarack Review, No. 74 (Spring 1978), p. 54. Vis. (revised).
B342 "Holiday Postcards." Queen's Quarterly, 85 (Spring 1978), 57. Vis. (revised).
B343 "Lady in Blue: Homage to Montreal." The Tamarack Review, No. 74 (Spring 1978), pp. 47-48. Vis. (revised--"Lady in Blue: Homage to Montreal").
B344 "Letter from Egypt." The Headless Angel [New College, Univ. of Toronto], Spring 1978, pp. 5-6. Rpt. in The Tamarack Review, No. 74 (Spring 1978), pp. 51-52. Vis. (revised).
B345 "Mister Never in a Dream of the Gatineau." Queen's Quarterly, 85 (Spring 1978), 58. MN (revised).
B346 "Postcard from Underground." The Tamarack Review, No. 74 (Spring 1978), p. 53. Rpt. in Canadian Author & Bookman, 57, No. 2 (Winter 1982), 18. Rpt. in Canadian Dimension, May 1982, p. 35.
B347 "Unemployment Town." This Magazine, Dec. 1978, p. 12. Vis. (revised).
B348 "The Big Tree." Waves, 7, No. 2. (Winter 1979), 31. Rpt. (revised) in Canadian Dimension, May 1982, p. 35. Vis. (revised).
B349 "Crazy Times." In Aurora: New Canadian Writing 1980. Ed. and introd. Morris Wolfe. Toronto: Doubleday, 1980, p. 220. Vis. (revised).
B350 "The Green Cabin." In Aurora: New Canadian Writing 1980. Ed. and introd. Morris Wolfe. Toronto: Doubleday, 1980, pp. 218-19. Vis. (revised).
B351 "Managing Death." Saturday Night, Nov. 1980, p. 92. Vis. (revised).
B352 "Desert Stone." In Finding Herself: Revelations Behind the Mirror/Revelations derriere le miroir. Illus. Sarah Jackson. N.p.: n.p., [1980?], n. pag. GT (expanded); DH (revised).
B353 "The Lonely Love of Middle Age." In Finding Herself: Revelations Behind the Mirror/Revelations derriere le miroir. Illus. Sarah Jackson. N.p.: n.p., [1980?], n. pag. CTC (revised, expanded-"[From the garish palazzo...]"); DH (revised-"The Lonely Love of Middle Age").
B354 "Honouring Heroes." Waves, 10, Nos. 1-2 (Summer-Fall 1981), 96-97. Vis. (revised).
B355 "Committees." Toronto Life, Jan. 1982, p. 12. Vis. (revised).
B356 "The Transplanted." Canadian Ethnic Studies/Etudes Ethniques au Canada, [Special Issue: Ethnicity and Canadian Literature], 14, No. 1 (1982), 23-24. Vis. (revised--"The Transplanted: Second Generation").
B357 "When We Met." Canadian Ethnic Studies/Etudes Ethniques au Canada, [Special Issue: Ethnicity and Canadian Literature], 14, No. 1 (1982), 49. Vis. (revised).
B358 "Winter Storm." Queen's Quarterly, 89 (Spring 1982), 112.
B359 "Problems: [Why do I still dream . . .]." Poetry Toronto, Sept. 1982, n. pag.
B360 "The Visitor." Poetry Toronto, Sept. 1982, n. pag.
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Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005002001
Record: 414- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Poetry translations
- Other Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
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- Bibliography
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- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Poetry translations
Ricou, Laurie (compiler)
B383 "At My Wedding." The Tamarack Review, No. 17 (Autumn 1960), p. 38.
Translated from the original Yiddish poem by Y. Y. Segal. See B614.
B384 "Aunt Dvorah." The Tamarack Review, No. 17 (Autumn 1960), p. 39.
Translated from the original Yiddish poem by Y. Y. Segal. See B616.
B385 "Late Autumn in Montreal." The Tamarack Review, No. 17 (Autumn 1960), p. 36. Rpt. in Canadian Literature, No. 42 (Autumn 1969), p. 41.
Translated from the original Yiddish poem by Y. Y. Segal. See B615.
B386 "Old Montreal." The Tamarack Review, No. 17 (Autumn 1960), p. 37.
Translated from the original Yiddish poem by Y. Y. Segal.
B387 "Scenario." The Tamarack Review, No. 17 (Autumn 1960), pp. 41-42.
Translated from the original Yiddish poem by A. M. Klein.
B388 "School for Preparing." Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 1, No. 1 (Fall 1966), 29.
Adapted from the literal translation of Annemarie Neumann of the original German poem by Otto Rank.
B389 "Weltschmerz: Lines before Breakfast." Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 1, No. 1 (Fall 1966), 27.
Adapted from the literal translation of Annemarie Neumann of the original German poem by Otto Rank.
B390 "Late Summer in Montreal." Viewpoints: A Canadian Jewish Quarterly, 2, No. 3 (1967), 56.
Translated from the original Yiddish poem by J. I. [pseud. Y. Y.] Segal.
B391 "Nuns who saved Jewish children." Viewpoints: A Canadian Jewish Quarterly, 2, No. 3 (1967), 55.
Translated from the original Yiddish poem by Rachel H. Korn.
B392 "Rhymes." In The Wind Has Wings: Poems from Canada. Ed. Mary Alice Downie and Barbara Robertson. Toronto: Oxford Univ. Press, 1968, p. 6.
Translated from the original Yiddish poem by Y. Y. Segal.
B393 "The Housemaid." In A Treasury of Yiddish Poetry. Ed. and introd. Irving Howe and Eliezer Greenberg. New York: Holt, Rinehart, 1969, pp. 302-04.
Translated from the original Yiddish poem by Rachel H. Korn.
B394 "A Jew." In A Treasury of Yiddish Poetry. Ed. and introd. Irving Howe and Eliezer Greenberg. New York: Holt, Rinehart, 1969, pp. 156-57.
Translated from the original Yiddish poem by J. I. [pseud. Y. Y.] Segal.
B395 "Seven Brothers." In A Treasury of Yiddish Poetry. Ed. and introd. Irving Howe and Eliezer Greenberg. New York: Holt, Rinehart, 1969, pp. 90-92.
Translated from the original Yiddish poem by Mani Leib.
B396 "Teaching Yiddish." In A Treasury of Yiddish Poetry. Ed. and introd. Irving Howe and Eliezer Greenberg. New York: Holt, Rinehart, 1969, p. 155.
Translated from the original Yiddish poem by J. I. [pseud. Y. Y.] Segal.
B397 "Springtime Girl." Waves, 3, No. 3 (Spring 1975), 22-25.
Translated, with Yvonne Grabowski, from the original Russian poem by Robert Rozhdestvensky.
B398 "Under the Roof in My House." Waves, 3, No. 3 (Spring 1975), 22.
Translated from the original Russian poem by Rimma Kozakova.
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Copyright of this work is the property of Toronto, Ontario : ECW Press and its content may not be copied without the copyright holder's expressed written permission except for the print or download capabilities of the retrieval software used for access. This content is intended solely for the use of the individual user.
Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005002003
Record: 415- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Reprinted anthology contributions: A selection
- Other Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Reprinted anthology contributions: A selection
Ricou, Laurie (compiler)
B403 "Cadenza," "Lullaby," and "Sympathy." In Other Canadians: An Anthology of the New Poetry in Canada 1940-1946. Ed. and introd. John Sutherland. Montreal: First Statement, 1947, pp. 106-08.
B404 "Circles," "Gimli," "Investigator," "Night in October," and "Portrait." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and introd. A. J. M. Smith. 2nd ed. Toronto: Gage, 1948, pp. 431-35.
B405 "Into the Morning," "Problems," and "Restricted." In Canadian Poems: 1850-1952. Ed. and introd. Louis Dudek and Irving Layton. 2nd ed. Toronto: Contact, 1952, pp. 114-15.
B406 "Lovers." Twentieth Century Canadian Poetry: An Anthology. Ed. and introd. Earle Birney. Toronto: Ryerson, 1953, pp. 78-79.
B407 "Cadenza," "Investigator," "Lullaby," and "Restricted." In Canadian Poetry in English. Ed. Bliss Carman, Lorne Pierce, and V. B. Rhodenizer. Introd. V. B. Rhodenizer. Foreword Lorne Pierce. Toronto: Ryerson, 1954, pp. 427-29.
B408 "Night in October," "Portrait," "Thou Didst Say Me," and "Wonderful Country." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and introd. A. J. M. Smith. 3rd ed. Toronto: Gage, 1957, pp. 461-65.
B409 "Circles" and "Wonderful Country." In The Penguin Book of Canadian Verse. Ed. and introd. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1958, pp. 210-11.
B410 "The Snows of William Blake." In Recent Canadian Verse. Ed. and introd. Milton Wilson. Kingston: Jackson, [1959], p. 13.
B411 "Catalpa Tree," "The Season's Lovers," and "Thou Didst Say Me." In The Oxford Book of Canadian Verse: In English and French. Ed. and introd. A. J. M. Smith. Toronto: Oxford Univ. Press, 1960, pp. 342-44.
B412 "Elegy for John Sutherland." In Best Poems of 1958: Borestone Mountain Poetry Awards, 1959. Ed. Lionel Stevenson, Howard Sergeant, Waddell Austin, Hildegard Flanner, Gertrude Clayton, Francis Minturn Howard, and Gemma d'Auria. Vol. II. Palo Alto, Cal.: Pacific, 1960, p. 95.
B413 "Fortunes." In New Poems 1961: A P.E.N. Anthology of Contemporary Poetry. Ed. and introd. William Plomer, Anthony Thwaite, and Hilary Corke. London: Hutchinson, 1961, p. 102.
B414 "Jonathan Travels" and "Mourning for Lost Causes." In A Canadian Anthology (Poems from The Fiddlehead: 1945-1959). Ed. Fred Cogswell. [The Fiddlehead, No. 50 (Fall 1961)], pp. 60-61.
B415 "At My Wedding," "Aunt Dvorah," "Old Montreal," and "Scenario." In The First Five Years: A Selection from The Tamarack Review. Ed. Robert Weaver. Introd. Robert Fulford. Toronto: Oxford Univ. Press, 1962, pp. 283-86.
B416 "Interval." In Love Where the Nights Are Long: An Anthology of Canadian Love Poems. Ed. and introd. Irving Layton. Toronto: McClelland and Stewart, 1962, p. 23.
B417 "From: Three Prison Portraits. 2. The Drug Addict." In Anthology of Commonwealth Verse. Ed. and introd. Margaret J. O'Donnell. London: Blackie, 1963, p. 190.
B418 "At My Wedding." In Poetry: An Anthology for High Schools. Ed. K. Phyllis Dover. Toronto: Holt, Rinehart and Winston, 1964, p. 149.
B419 "The Land Where He Dwells In." In Best Poems of 1963: Borestone Mountain Poetry Awards, 1964. Ed. Lionel Stevenson, Howard Sergeant, Waddell Austin, Hildegard Flanner, Gertrude Clayton, Francis Minturn Howard, and Gemma d'Auria. Vol. XVI. Palo Alto, Cal.: Pacific, 1964, pp. 134-35.
B420 "In the Sun." In Man's Search for Values. Ed. Thomas Martin, Dorothy Chamberlin, and Irmgard Wieler. Toronto: Gage, 1966, p. 17.
B421 "Saints and Others." In New Poems 1965: A P.E.N. Anthology of Contemporary Poetry. Ed. and introd. C. V. Wedgwood. London: Hutchinson, 1966, pp. 170-71.
B422 "Catalpa Tree," "My Lessons in the Jail," and "The Season's Lovers." In Modern Canadian Verse: In English and French. Ed. and preface A. J. M. Smith. Toronto: Oxford Univ. Press, 1967, pp. 204-06.
B423 "Green World Two," "The Season's Lovers," and "Thou Didst Say Me." In The Penguin Book of Canadian Verse. Ed. and introd. Ralph Gustafson. Rev. ed. Harmondsworth, Eng.: Penguin, 1967, pp. 218-20.
B424 "Runners," "Seeing Beyond Brick," and "Wonderful Country." In The Enchanted Land: Canadian Poetry for Young Readers. Ed. Thelma Reid Lower and Frederick William Cogswell. Introd. Frederick William Cogswell. Agincourt, Ont.: Gage, 1967, pp. 3, 73, 137.
B425 "Sea Bells." In Commonwealth Poems of Today. Ed. and introd. Howard Sergeant. London: Cox and Whyman, 1967, p. 139.
B426 "Laughter." In The Wind Has Wings: Poems from Canada. Ed. Mary Alice Downie and Barbara Robertson. Toronto: Oxford Univ. Press, 1968, p. 14.
B427 "At My Wedding," "Aunt Dvorah," "Late Autumn in Montreal," "Old Montreal," "Rhymes," and "Scenario." In A Treasury of Yiddish Poetry. Ed. and introd. Irving Howe and Eliezer Greenberg. New York: Holt, Rinehart, 1969, pp. 151-54, 157-59.
B428 "A Landscape of John Sutherland." In The Sixties: Writers and Writing of the Decade. A Symposium to Celebrate the Tenth Anniversary of Canadian Literature. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, pp. 85-86.
B429 "In My Dream Telescope." In How Do I Love Thee: Sixty Poets of Canada (and Quebec) Select and Introduce Their Favourite Poems from Their Own Work. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1970, pp. 30-34.
B430 "Song for Sleeping People." In Made in Canada: New Poems of the Seventies. Ed. and introd. Raymond Souster and Douglas Lochhead. Ottawa: Oberon, 1970, p. 184.
B431 "Spring-Rain" and "Thou Didst Say Me." In Salutation. Ed. and introd. John Metcalf and Gordon Callaghan. Toronto: Ryerson, 1970, pp. 100-02, 107.
B432 "At My Wedding," "Aunt Dvorah," "A Jew," "Late Autumn in Montreal," "Scenario," and "Teaching Yiddish." In Volvox: Poetry from the Unofficial Languages of Canada...In English and Translation. Ed. J. Michael Yates. Port Clements, B.C.: Sono Nis, 1971, pp. 155-63.
B433 "The Nineteen Thirties Are Over" and "What Happens to the World." In 40 Women Poets of Canada. Ed. Dorothy Livesay and Seymour Mayne. Montreal: Ingluvin, 1971, pp. 135-36, 138-39.
"What Happens to the World" was originally entitled "Why Should I Care About the World."
B434 "Old Montreal." In Hockey Cards and Hopscotch. Ed. John McInnes and Emily Hearn. Toronto: Nelson, 1971, p. 11.
B435 "Transformations." In Words etcetera: A Miscellany of Literature Art and Criticism. Ed. Julian Naengle. Bramley, Surrey/Paris: Words / Shakespeare, 1971, p. 84.
B436 "Love Poem." In Listen! Songs and Poems of Canada. Ed. Homer Hogan and Dorothy Hogan. Introd. Homer Hogan. Methuen Canadian Literature Series. Toronto: Methuen, 1972, p. 76.
B437 "Night on Skid Row." In The City: Attacking Modern Myths. Ed. and introd. Alan Powell. Toronto: McClelland and Stewart, 1972, p. 161.
B438 "Returning to Toronto." In Voice and Vision. Ed. Jack Hodgins and William H. New. Toronto: McClelland and Stewart, 1972, p. 143.
B439 "The Sleepers." In Forum: Canadian Life and Letters 1920-70. Selections from The Canadian Forum. Ed. and preface J. L. Granatstein and Peter Stevens. Toronto: Univ. of Toronto Press, 1972, p. 221.
B440 "Song for Sleeping People." In Truth and Fantasy. Ed. and introd. Kenneth J. Weber and Homer Hogan. Toronto: Methuen, 1972, p. 2.
B441 "Advice to the Young," "Anxious," "Canadians," and "Love Poem." In The Oxford Anthology of Canadian Literature. Ed. and preface Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 503-07.
B442 "A Morning Like the Morning Amos Awoke." In The Temple and the Ruin. Ed. Alvin A. Lee, Hope Arnott Lee, and W. T. Jewkes. Introd. Alvin A. Lee and Hope Arnott Lee. New York: Harcourt Brace Jovanovich, 1973, pp. 135-36.
B443 "New Year's Day," "Sorrow Song," "Spring Rain," and "Summer." In The Speaking Earth: Canadian Poetry. Ed. and preface John Metcalf. Toronto: Van Nostrand Reinhold, 1973, pp. 15, 17, 54-55, 68.
B444 "The City's Life," "Eavesdropping," "Icons," "The Land Where He Dwells," "Sad Winter in the Land of Can Lit," "The Season's Lovers," "The Thief," and "Transformations." In Selections from Major Canadian Writers. Ed. and introd. Desmond Pacey. Toronto: McGraw-Hill Ryerson, 1974, pp. 108-19.
B445 "Divinations," "Downtown Streets," "Ending," "Forest Poem," "Incidents for the Undying World," "National Treasures in Havana," "October 1970," "Rivers," "Walking in London," and "When the World Was Wheelbarrow." In Lobsticks. Ed. Clare MacCulloch. Guelph, Ont.: Alive, 1974, pp. 172-88.
B446 "In the Big City," "Investigator," "Night in October," "Polemics," "Sad Winter in the Land of Can Lit," "Sea Bells," and "Someone Who Used to Have Someone." In Canadian Anthology. Ed. and preface Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, pp. 440-44.
B447 "Summer at Lonely Beach" (short story). In Winnipeg Stories. Ed. Joan Parr, with Carol Kleiman and David Williamson. Introd. David Arnason. Winnipeg: Queenston House, 1974, pp. 58-67.
B448 "Advice to the Young." Look Both Ways: Theatre Experiences. Ed. and preface Herman Voaden. Toronto: Macmillan, 1975, pp. 226-27.
B449 "From a Dead Poet's Book" and "Why Should I Care About the World." In The Role of Women in Canadian Literature. Ed. and introd. Elizabeth McCullough. Themes in Canadian Literature. Toronto: Macmillan, 1975, pp. 7-8, 16.
B450 "Love Poem" and "Someone Who Used to Have Someone." In Mirrors: Recent Canadian Verse. Ed. and introd. Jon Pearce. Toronto: Gage, 1975, pp. 125-26.
B451 "Ten Years and More." In Best Poems of 1974: Borestone Mountain Poetry Awards, 1975. Ed. Howard Sergeant, Waddell Austin, Hildegard Flanner, Francis Minturn Howard, Gemma d'Auria, and Gary Miranda. Vol. XXVII. Palo Alto, Cal.: Pacific, 1975, pp. 4-5.
B452 "Toronto the Golden-Vaulted City." In Recollections of the Works Department. Ed. Ernest W. Winter. Don Mills, Ont.: Nelson, 1975, pp. 179-80.
B453 "Night of Voices," "A Man Is Walking," "Provincial," "Sorrow Song," "Things of the World," "Transformations," "Ukrainian Church," and "Waiting in Alberta." In Twelve Prairie Poets. Ed. and introd. Laurence R. Ricou. Ottawa: Oberon, 1976, pp. 167-79.
B454 "How Each One Becomes Another in the Early World," "Love Poem," "The Nineteen Thirties Are Over," "Transition," and "Wives' Tales." In Canadian Poetry: The Modern Era. Ed. and preface John Newlove. Toronto: McClelland and Stewart, 1977, pp. 248-54.
B455 "Grand Manan Sketches," "Green World One," "Green World Two," "In the Park," "Looking for Strawberries in June," "The Nineteen Thirties Are Over," and "Transformations." In Literature in Canada. Ed. and preface Douglas Daymond and Leslie Monkman. Vol. II. Toronto: Gage, 1978, pp. 340-44.
B456 "Lady Blue: Homage to Montreal." In Aurora: New Canadian Writing 1978. Ed. and introd. Morris Wolfe. Toronto: Doubleday, 1978, pp. 58-59.
B457 "Sad Winter in the Land of Can Lit." In The Poets of Canada. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1978, pp. 150-52.
B458 "Advice to the Young." In A Child Growing Up: A Journey Through the Bittersweet Joys of Childhood Experience. Ed. David Kemp and Marian M. Wilson. Toronto: Simon & Pierre, 1979, p. 89.
B459 "Anxious" and "We Are Not One." In To Say the Least: Canadian Poets from A to Z. Ed. and introd. P. K. Page. Toronto: Porcepic, 1979, pp. 45, 48.
B460 "Provincial." In Childhood and Youth in Canadian Literature. Ed. M. G. Hesse. Themes in Canadian Literature. Toronto: Macmillan, 1979, pp. 116-17.
B461 "Desert Stone," "The Field of Night: for Philip Surrey," and "The Survivors." In Voices within the Ark: The Modern Jewish Poets. Ed. and introd. Howard Schwartz and Anthony Rudolf. Yonkers, N.Y.: Pushcart, 1980, pp. 768-71.
B462 "In the Big City." In Femme Plurielle. Ed. and trans. Evelyne Voldeng. [Ottawa]: Dept. d'Etudes Francaises, Carleton Univ., 1980, p. 56. The book also includes a translation (see B62).
B463 "Notes on Managing Death." In Aurora: New Canadian Writing 1980. Ed. and introd. Morris Wolfe. Toronto: Doubleday, 1980, pp. 217-18.
B464 "Spring on the Bay of Quinte." In Round Slice of the Moon and Other Poems for Canadian Kids. Ed. Fran Newman. Richmond Hill, Ont.: Scholastic-TAB, 1980, p. 29.
B465 "The Bond," "The Nineteen Thirties Are Over," and "Why Should I Care about the World." In The Spice Box: An Anthology of Jewish Canadian Writing. Ed. and introd. Gerri Sinclair and Morris Wolfe. Toronto: Lester and Orpen Dennys, 1981, pp. 110-15.
B466 "Advice to the Young," "Icons," "Old Women of Toronto," "Ten Years and More," and "The Women's Jail." In The New Oxford Book of Canadian Verse: In English. Ed. and introd. Margaret Atwood. Toronto: Oxford Univ. Press, 1982, pp. 188-93.
B467 "Icons," "The Nineteen Thirties Are Over," "Portrait: Old Woman," "The Season's Lovers," and "Wonderful Country." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto / Downsview, Ont.: General/ECW, 1982. Vol. I, 259-66.
B468 "Advice to the Young," "Icons," "Looking for Strawberries in June," "My Lessons in the Jail," "The Nineteen Thirties Are Over," and "Ten Years and More." In An Anthology of Canadian Literature in English. Ed. and introd. Donna Bennett and Russell Brown. Vol. II. Toronto: Oxford Univ. Press, 1983, pp. 24-31.
B469 "How Old Women Should Live," "Love Poem," "The Nineteen Thirties Are Over," "The Season's Lovers," "Thou Didst Say Me," "Transformations," "The Transplanted: Second Generation," and "The Visitants." In Voices from Distant Lands: Poetry in the Commonwealth. Ed. and introd. Konrad Gross and Wolfgang Klooss. Wurzburg, W. Ger.: Konigshausen und Neumann, 1983, pp. 98-107.
B470 "Someone Who Used to Have Someone." In Canadian Viewpoints: An Anthology of Canadian Writing. Ed. Allen Andrews, Diane Thompson, and Douglas Cronk. Victoria: Province of British Columbia Ministry of Education, 1983, pp. 384-85.
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Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005002005
Record: 416- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Reviews
- Other Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Reviews
Ricou, Laurie (compiler)
B535 "Boy Meets Poor Girl." Rev. of But You Are Young, by Josephine Lawrence. The Canadian Forum, April 1940, p. 28.
Signed: Miriam Dworkin Waddington.
B536 "The Klondike." Rev. of Northern Lights to Fields of Gold, by Stanley Scearce. The Canadian Forum, April 1940, p. 30.
Signed: Miriam Dworkin Waddington.
B537 "South Sea Soother." Rev. of No More Gas, by Charles Nordhoff and James Norman Hall. The Canadian Forum, April 1940, p. 30.
Signed: Miriam Dworkin Waddington.
B538 Rev. of Little Friend, Little Friend, by Randall Jarrell. The Canadian Forum, Feb. 1946, p. 268.
B539 Rev. of Poems for People, by Dorothy Livesay. The Canadian Forum, Oct. 1947, p. 165.
B540 Rev. of A Greek Poet in England, by Demetrios Capetanakis. Northern Review, 2, No. 1 (Oct.-Nov. 1947), 37.
B541 Rev. of Canadian Poetry Magazine; and Always the Bubbles Break, by Irene H. Moody. The Canadian Forum, Dec. 1947, p. 214.
B542 Rev. of Advance or Retreat for Private Family Service, by Bertha Reynolds. The Social Worker, 17, No. 4 (April 1949), 18-19.
B543 Rev. of The Dynamics of Supervision Under Functional Controls, by Virginia P. Robinson. The Social Worker, 18, No. 3 (Feb. 1950), 34-36.
B544 Rev. of Crestwood Heights, by John R. Seeley, R. Alexander Sim, and Elizabeth W. Loosley. The Social Worker/Le Travailleur Social, 25, No. 2 (Jan. 1957), 65-67.
B545 Rev. of Love and Salt Water, by Ethel Wilson; and The Wooden Sword, by Edward McCourt. Queen's Quarterly, 64 (Spring 1957), 143-45.
B546 Rev. of The Sacrifice, by Adele Wiseman. Canadian Author & Bookman, 33, No. 2 (Summer 1957), 17-18.
B547 Rev. of The Improved Binoculars, by Irving Layton. Congress Bulletin [Canadian Jewish Congress], 11, Nos. 8-9 (Oct.-Nov. 1957), 4-5.
B548 Rev. of Under the Ribs of Death, by John Marlyn; and The Street of Riches, by Gabrielle Roy. Queen's Quarterly, 64 (Winter 1957-58), 627-29.
B549 Rev. of Bella North, by Diane Marr-Johnston; and The Young Life, by Leo Townsend. The Social Worker/Le Travailleur Social, 26, No. 2 (Jan. 1958), 66-67.
B550 Rev. of Direct Casework with Children, by Jeanette Regensburg and Selma Fraiberg. The Social Worker/Le Travailleur Social, 26, No. 2 (Jan. 1958), 67-68.
B551 Rev. of Otto Rank: A Biographical Study Based on Notebooks, Letters, Collected Writings, Therapeutic Achievements and Personal Associations, by Jessie Taft. Canadian Welfare, 34 (Dec. 1958), 246-48.
B552 "Only Napoleon Resisted Her Charms." Rev. of Mistress to an Age, by J. Christopher Herold. Toronto Daily Star, 6 Dec. 1958, Sec. Entertainment, p. 30.
B553 "An Attack on Togetherness." Rev. of Daddy's Gone A-Hunting, by Penelope Mortimer. Toronto Daily Star, 27 Dec. 1958, Sec. Entertainment, p. 25.
B554 "A Candid Portrait of the Communist as a Young Woman." Rev. of A Ripple from the Storm, by Doris Lessing. Toronto Daily Star, 21 March 1959, Sec. Entertainment, p. 30.
B555 Rev. of Casework Papers 1957 [from the National Conference on Social Welfare, Family Service Association of America, New York]. The Social Worker/Le Travailleur Social, 27, No. 2 (April 1959), 48-50.
B556 "Sour Life of a Sad Expatriate." Rev. of The Unspeakable Skipton, by Pamela Hansford Johnson. Toronto Daily Star, 2 May 1959, Sec. Entertainment, p. 27.
B557 "French Attitudes Ungainly." Rev. of The Kingdom under the Sea, by Henri Queffelec. Toronto Daily Star, 30 May 1959, Sec. Entertainment, p. 32.
B558 Rev. of The Human Condition, by Hannah Arendt. Queen's Quarterly, 66 (Summer 1959), 332-33.
B559 "Attacks Myth of Freudians." Rev. of Sigmund Freud's Mission, by Erich Fromm; and Freud: The Mind of the Moralist, by Philip Rieff. Toronto Daily Star, 29 Aug. 1959, Sec. Entertainment, p. 30.
B560 "On the Side of Life." Rev. of A Candle to Light the Sun, by Patricia Blondal. Canadian Literature, No. 8 (Spring 1961), pp. 65-66.
B561 "Japanese Flowers, Autumn Vistas." Rev. of Under the Ice, by Alden Nowlan; and Rivers Among Rocks, by Ralph Gustafson. Canadian Literature, No. 9 (Summer 1961), pp. 70-72.
B562 Rev. of From Charity to Social Work: In England and the United States, by Kathleen Woodroofe. Queen's Quarterly, 70 (Winter 1963-64), 623.
B563 "Facts Turn Fugitive but the Images Stay." Rev. of Love, Hate, Fear, Anger, and Other Lively Emotions, by June Callwood. The Globe Magazine [The Globe and Mail] [Toronto], 12 Dec. 1964, p. 27.
B564 "Irony Is That Irony Is Undefined." Rev. of The Crazy Fabric, by A. E. Dyson. The Globe Magazine [The Globe and Mail] [Toronto], 3 April 1965, p. 14.
B565 "A Lack of Proper Madness." Rev. of Shadows on a Wall, by Charles E. Israel. The Globe Magazine [The Globe and Mail] [Toronto], 22 May 1965, p. 16.
B566 "Violence and Caresses in Brazil." Rev. of The Violent Land, by Jorge Amado. The Globe Magazine [The Globe and Mail] [Toronto], 31 July 1965, p. 16.
B567 "Tormented, Tragic Genius." Rev. of Marcel Proust, Vol. II, by George D. Painter. The Globe Magazine [The Globe and Mail] [Toronto], 14 Aug. 1965, p. 14.
B568 "Voices from Exile." Rev. of The Collected Poems of Frank Prewett; and Birth of a Shark, by David Wevill. Canadian Literature, No. 26 (Autumn 1965), pp. 59-63.
B569 "Turning New Leaves." Rev. of Force of Circumstance, by Simone de Beauvoir. The Canadian Forum, Oct. 1965, pp. 158-59.
B570 "Bouncy Sermons on Comedy of Sex." Rev. of Collected Poems, by Irving Layton. The Globe Magazine [The Globe and Mail] [Toronto], 15 Jan. 1966, p. 13.
B571 "The Bastard." Rev. of La Batarde, by Violete Leduc. The Tamarack Review, No. 39 (Spring 1966), pp. 94-96, 98-99.
B572 "Bankrupt Ideas and Chaotic Style." Rev. of Beautiful Losers, by Leonard Cohen. The Globe Magazine [The Globe and Mail] [Toronto], 30 April 1966, p. 17.
B573 "Poetry of a Frontier World." Rev. of Selected Poems 1940-1966, by Earle Birney. The Globe Magazine [The Globe and Mail] [Toronto], 21 May 1966, p. 13.
B574 "Confessions of a Parisian Angel." Rev. of The Diary of Anais Nin, by Anais Nin, ed. Gunther Stuhlman. The Globe Magazine [The Globe and Mail] [Toronto], 22 Oct. 1966, p. 23.
B575 "Dos Passos: Clearer by Camera Than Glass." Rev. of The Best Times, by John Dos Passos. The Globe Magazine [The Globe and Mail] [Toronto], 10 Dec. 1966, p. 23.
B576 "A Long Blissful Apology." Rev. of Bliss Carman, by Donald Stephens. The Globe Magazine [The Globe and Mail] [Toronto], 11 Feb. 1967, p. 19.
B577 "Anthologist, Nerve Poet and Bard of the Buttocks." Rev. of Periods of the Moon, by Irving Layton; Abracadabra, by John Robert Colombo; and New Wings for Icarus, by Henry Beissel. The Globe Magazine [The Globe and Mail] [Toronto], 18 March 1967, p. 35.
B578 "A Walk in an Enchanted Forest." Rev. of The Diary of Anais Nin 1934-1939, ed. Gunther Stuhlman. The Globe Magazine [The Globe and Mail] [Toronto], 12 Aug. 1967, p. 17.
B579 "No Meeting Points." Rev. of The Meeting Point, by Austin C. Clarke. Canadian Literature, No. 35 (Winter 1968), pp. 74-75, 77-78.
B580 "Five without a Common Song." Rev. of Phrases from Orpheus, by D. G. Jones; Pointing, by Lionel Kearns; An Idiot Joy, by Eli Mandel; Cry Ararat! Poems Selected and New, by P. K. Page; and As Is, by Raymond Souster. The Globe Magazine [The Globe and Mail] [Toronto], 13 Jan. 1968, p. 13.
B581 "New Year's Eve." Rev. of New Year's Eve/1929, by James T. Farrell. The Tamarack Review, No. 47 (Spring 1968), pp. 98-101.
B582 "Avant-Garde Posture, but Academic in the Worst Way." Rev. of Above Ground, by Jack Ludwig. The Globe Magazine [The Globe and Mail] [Toronto], 1 June 1968, p. 19.
B583 "A Showman in His Images' Grip." Rev. of Selected Poems 1956-1968, by Leonard Cohen. The Globe Magazine [The Globe and Mail] [Toronto], 27 July 1968, p. 13.
B584 Rev. of Figures in a Landscape, by David Helwig. Queen's Quarterly, 75 (Winter 1968), 745-46.
B585 "Yiddish Miracles for Rejects of the World." Rev. of The Seance, by Isaac Bashevis Singer. The Globe Magazine [The Globe and Mail] [Toronto], 18 Jan. 1969, p. 14.
B586 "Some Class-Enclosed Flab from Britain." Rev. of Winter's Tales, ed. Kevin Crossley-Holland. The Globe Magazine [The Globe and Mail] [Toronto], 1 March 1969, p. 18.
B587 "The Very Lucid Breath of Camus." Rev. of Lyrical & Critical Essays, by Albert Camus. The Globe Magazine [The Globe and Mail] [Toronto], 15 March 1969, p. 18.
B588 Rev. of The Novel of the Future, by Anais Nin. Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 4, No. 1 (June 1969), 54-60.
B589 "Space as Morality." Rev. of Lawren Harris, ed. Bess Harris and R. G. P. Colgrove. artscanada, 27, No. 2 (April 1970), 63.
B590 "Falling for a Magic Pot?". Rev. of The Medium Is the Rearview Mirror: Understanding McLuhan, by Donald Theall. The Globe Magazine [The Globe and Mail] [Toronto], 20 Feb. 1971, p. 16.
B591 "The Language of July." Rev. of Artworks and Packages, by Harold Rosenberg. The Canadian Forum, March 1971, pp. 424-26.
B592 "Poet without Masks." Rev. of The Solitary City, by R. A. D. Ford. Canadian Literature, No. 48 (Spring 1971), pp. 68-70.
B593 Rev. of The Seamless Web, by Stanley Burnshaw. Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 16, No. 1 (June 1971), 77-80.
B594 "Garner's Good Ear." Rev. of A Nice Place to Visit, by Hugh Garner. Canadian Literature, No. 50 (Autumn 1971), pp. 72-75. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski. Vol. XIII. Detroit: Gale, 1980, 234-35.
B595 Rev. of The Mirror and the Garden: Realism and Reality in the Writings of Anais Nin, by Evelyn J. Hinz. University of Toronto Quarterly, 41 (Summer 1972), 395-97.
B596 "But How Does Glassco Feel About Montreal?". Rev. of Montreal, by John Glassco. The Globe and Mail [Toronto], 17 Nov. 1973, p. 34.
B597 "Chacun sa blais." Rev. of St. Lawrence Blues and The Wolf, by Marie-Claire Blais. Books in Canada, Nov. 1974, pp. 3, 5.
B598 "Rich and Arid Williams." Rev. of Moise and the World of Reason, by Tennessee Williams. The Globe and Mail [Toronto], 21 June 1975, p. 35.
B599 "Ernest's Importance of Being." Rev. of The Rebellion of Young David and Other Stories, by Ernest Buckler. Books in Canada, July 1975, pp. 6-7.
B600 Rev. of The Master Mason's House, by Frederick Philip Grove. The Humanities Association Review, 28 (Summer 1977), 297-99.
B601 "The Holocaust, Totalitarianism, Wertmuller's Movies and Urban Planning. Above All, Bettleheim's Vision and Prophecy." Rev. of Surviving and Other Essays, by Bruno Bettelheim. The Globe and Mail [Toronto], 25 Aug. 1979, p. 37.
B602 "The Ghost Writer." Rev. of The Ghost Writer, by Philip Roth. The Globe and Mail [Toronto], 20 Oct. 1979, p. 12.
B603 "The New Woman." Rev. of Abra, by Joan Barfoot; and Judith, by Aritha van Herk. Canadian Literalure, No. 84 (Spring 1980), pp. 101-05. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, Short Story Writers, Filmmakers, Scriptwriters, and Other Creative Writers. Ed. Sharon R. Gunton. Vol. XVIII. Detroit: Gale, 1981, 35-36.
B604 "Isaac Bashevis Singer." Rev. of The Magician of 86th Street, by Paul Kresh. The Globe and Mail [Toronto], 29 March 1980, p. 13.
B605 "Journey into Our Heritage." Rev. of Journey into Our Heritage, by Harry Gutkin. The Globe and Mail [Toronto], 12 July 1980, p. 14.
B606 Rev. of The Man Who Sold Prayers, by Margaret Creal. The Globe and Mail [Toronto], 7 Nov. 1981, Sec. Entertainment, p. 18.
B607 "Lies, Intelligence, Mysterious Energy." Rev. of Katherine Anne Porter: A Life, by Joan Givner. The Globe and Mail [Toronto], 26 March 1983, p. 14.
B608 "A Woman of Too Many Talents to Be Forgotten." Rev. of Fanny Wright: Rebel in America, by Celia Morris Eckhardt. The Globe and Mail [Toronto], 23 June 1984, p. E17.
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Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005002008
Record: 417- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Short stories
- Other Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Short stories
Ricou, Laurie (compiler)
B361 "First Love." The Undergraduate [Univ. College, Univ. of Toronto], 8, No. 1 (Fall 1937), 15.
Signed: Miriam Dworkin.
B362 "Corsage." The Undergraduate [Univ. College, Univ. of Toronto], 8, No. 2 (Spring 1938), 62-64. Signed: Miriam Dworkin.
B363 "A Jar of Raisins." The Varsity [Univ. of Toronto], 9 Dec. 1938, pp. 3, 10.
Signed: Miriam Dworkin.
B364 "War Breaks a Holiday." The New Advance [Toronto], Dec. 1939, pp. 13, 27.
Signed: Miriam Dworkin.
B365 "Life Blooms in the Afternoon." Social Work Today [New York], Dec. 1941, pp. 20-21. Rpt. (revised) in Preview, No. 13 (May 1943), pp. 1-3. SLB (revised--"Day in the Sun").
Originally signed: E. B. Merritt.
B366 "Celebration." First Statement, 1, No. 11 ([Jan. 1943]), 4-6.
B367 "Susie and the Man Travelled with Samples." Direction, No. 3 ([Dec. 1944]), p. 7.
B368 "The Social Worker." The Canadian Forum, Aug. 1945, pp. 112-13. Rpt. (revised) in Journal of the Otto Rank Association [Doglestown, Back County, Penn.], 11, No. 2 (Winter 1976-77), 45-48. SLB (revised--"Farewells at Four O'Clock").
B369 "Summer at Lonely Beach." Queen's Quarterly, 63 (Autumn 1956), 358-65. SLB (revised).
B370 "The Last Rehearsal." The Canadian Council Woman, 3, No. 2 (March 1963), 8-9. Rpt. in Impulse, 2, Nos. 3-4 (1973), 111-17. SLB (revised).
B371 "Waldemar." Queen's Quarterly, 70 (Summer 1963), 223-32. SLB (revised).
B372 "A Mixed Marriage." The Canadian Forum, Aug. 1964, pp. 109-11. SLB (revised).
B373 "Little Allegories of Canada: Winnipeg and Ottawa." The Canadian Forum, April-May 1970, p. 29.
B374 "Honeymoon House." Impulse, 1, No. 1 (Fall 1971), 17-22. SLB (revised--"The Honeymoon House").
B375 "Habit of Love." Chatelaine, Sept. 1972, pp. 51, 73-76.
B376 "Little Allegories of Canada: 1. Ontario Cellars." Journal of Canadian Fiction, 2, No. 1 (Winter 1973), 23.
B377 "Little Allegories of Canada: 2. Montreal: All French Speaking Here." Journal of Canadian Fiction, 2, No. 1 (Winter 1973), 23.
B378 "Three Portraits: 1. The Traveler." Journal of Canadian Fiction, 2, No. 1 (Winter 1973), 21.
B379 "Three Portraits: 2. Lutka." Journal of Canadian Fiction, 2, No. 1 (Winter 1973), 21-22.
B380 "Three Portraits: 3. The Writer." Journal of Canadian Fiction, 2, No. 1 (Winter 1973), 22.
B381 "A Long Way from Home." Journal of Canadian Fiction, 3, No. 4 (1975), 34-38. SLB (revised--"Far from Snows of Winnipeg").
B382 "Breaking Bread in Jerusalem." The Fiddlehead, No. 126 (Summer 1980), pp. 34-44. SLB (revised).
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Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005002002
Record: 418- Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Short stories translations
- Other Title:
- Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 1: Works By Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 288-341)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP1
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Source: Part 1: Works By Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 288-341
Part 1 Works By Miriam (Dworkin) Waddington:; Contributions to periodicals and books; Short stories translations
Ricou, Laurie (compiler)
B399 "One Autumn in Kiev." The Canadian Forum, July 1960, pp. 86-90.
Translated from the original Yiddish story by David Bergelson.
B400 "Night Song." Viewpoints: A Canadian Jewish Quarterly, 6, No. 4 (Spring 1972), 50-52.
Translated from the original Yiddish story by Yosef Apatashu.
B401 "Blossoms." In Yiddish Stories Old and New. Ed. Irving Howe and Eliezer Greenberg. New York: Holiday House, 1974, pp. 116-22.
Translated from the original Yiddish story by Isaiah Spiegel.
B402 "Two Anti-Semites." In The Best of Sholem Aleichem. Ed. and introd. Irving Howe and Ruth R. Wisse. Washington, D.C.: New Republic, 1979, pp. 115-21.
Translated from the original Yiddish story by Sholem Aleichem [pseud. Sholom Rabinovitch].
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Source: Ricou, Laurie (compiler); . Part 1: Works By Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 288-341 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP1.
Item Number: ABCMA06MWP1000006005002004
Record: 419- Title:
- Part 1 Works By Phyllis Webb; Books; Broadsides
- Other Title:
- Part 1 Works By Phyllis Webb; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 1: Works By Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
Part 1 Works By Phyllis Webb; Books; Broadsides
Frey, Cecelia (compiler)
A10 In a Garden of the Pitti Palace (and) A Pang Cantata: Two New Poems. Vancouver: Pica, 1961. [1 leaf.]
Includes "In a Garden of the Pitti Palace" (B49) and "A Pang Cantata" (A3).
A11 For Fyodor. Toronto: Mongrel, 1972. [1 leaf.]
Includes "For Fyodor" (B63).
A12 The Bowl. Lantzville, B.C.: Island, 1981. [1 leaf.]
Includes: "The Bowl" (B85).
A13 "Eschatology of Spring." The Lines of the Poet. Ed. D. G. Jones. Portraits Morton Rosengarten. Montreal: Vandercook Hand, [1982?]. [1 leaf.]
Includes "Eschatology of Spring" (B75).
A14 Prison Report. Vancouver: Slug, 1982. [1 leaf.]
Includes: "Prison Report."
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Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
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Record: 420- Title:
- Part 1 Works By Phyllis Webb; Books; Criticism
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- Part 1 Works By Phyllis Webb; Books
- Record Type:
- Reference Series
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 1: Works By Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP1
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
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A9 Talking. Foreword Phyllis Webb. Montreal: Quadrant, 1982. 2, 153 pp.
Includes the following essays: "Appendix One," "Appendix Two," "Canadian Chronicle (Gwendolyn MacEwen, Eldon Grier, Milton Acorn, and Poetry '64--Poesie '64)" (B154), "A Correspondence," "Curses and Lamentations (Irving Layton and Leonard Cohen)" (B179), "The Energy of Slaves (Leonard Cohen)" (B235), "'A fly-speck in history' (Al Purdy)" (B266), "Give Us This Day (Audrey Thomas)" (B231), "A Greater Loneliness (Farley Mowat and Robert Hunter)" (B250, B251), "Her Prodigies Within (Audrey Thomas)" (B269), "Is You Me? (Margaret Atwood)" (B264), "On the Line" (B140), "Palpable Relations (John Reeves and D. G. Jones)" (B148), "Phyllis Webb's Canada" (B136), "Poems for All the Annettes (Al Purdy)" (B149), "Polishing Up the View" (B138), "The Question as an Instrument of Torture" (B230), "Towards Androgeny? (John Glassco)" (B268), "Up the Ladder: Notes on the Creative Process," "Wanting and Getting (Tom Wayman)" (B263), and "Waterlily and Multifoliate Rose: Cyclic Notions in Proust" (B229).
Includes the following poems in the following essays: "Father" (B87), "Field Guide to Snow Crystals" (B91), "'The King of Kings has left the Peacock Throne': CBC Radio News, Jan. 16/79," "Messages" (B88), "Painting the Old House," and "Vasarely" (B79) in "Up the Ladder: Notes on the Creative Process"; "Poetics Against the Angel of Death" (B69) and [the yellow chrysanthemums...]" (B70) in "Polishing Up the View"; and "[Some Final Questions]: [Now you are sitting doubled up in pain....]" (A4) in "On the Line."
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Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
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Record: 421- Title:
- Part 1 Works By Phyllis Webb; Books; Poetry
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- Part 1 Works By Phyllis Webb; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 1: Works By Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP1
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
Part 1 Works By Phyllis Webb; Books; Poetry
Frey, Cecelia (compiler)
[underbar]
A1 [underbar]Gael Turnbull, and E. W. Mandel. Trio: First Poems by Gael Turnbull, Phyllis Webb, E. W. Mandel. Preface Louis Dudek. Toronto: Contact, 1954. [1, 92] pp.
Includes the following poems by Webb: "And in Our Time," "The Campfire," "Chung Yung" (B5), "The Colour of the Light," "The Construct of Years," "Earth Descending" (B17), "Elegy on the Death of Dylan Thomas" (B22), "Introspective Lovers," "...Is Our Distress" (B8), "Lear on the Beach at Break of Day," "Pain," "Patience" (B1), "Pining" (B21), "Poet" (B7), "The Second Hand," "September," "The Skywriter" (B2), "Standing (For Earle Birney)" (B23), "To......" (B3), and "To a Zen Buddhist Who Laughs Daily."
A2 Even Your Right Eye. Indian File, No. 8. Toronto: McClelland and Stewart, 1956. 64 pp.
Includes "And in Our Time" (A1), "The Colour of the Light" (A1), "Curtains," "Double Entendre," "Earth Descending" (B17), "Fantasia on Christian's Diary," "Fragment," "In Dublin" (B33), "Incidental," "Introspective Lovers" (A1), "...is our distress" (B8), "Lament" (B26), "Marian Scott" (B27), "Marvell's Garden," "The Mind Reader" (B25), "Moments Are Monuments" (B29), "Mourning Ballad," "Old Woman" (B28), "Pain" (A1), "Patience" (B1), "Rhetoric for New Years," "Rust on an Anchor," "Sacrament of Spring" (B24), "The Second Hand" (A1), "The Shape of Prayer" (B30), "The Skywriter" (B2), "Sprouts the Bitter Grain," "Standing" (B23), "Sunday Morning Walk," "To--" (B3), "Two Versions: 1. Poetry 2. In Situ" (B32), and "A Walk by the Seine."
A3 The Sea Is Also a Garden. Toronto: Ryerson, 1962. [56] pp.
Includes "Beachcomber," "Bomb Shelter," "Breaking" (B44), "The Cats of St. Ives" (B48), "Countered," "The Effigy" (B43), "Eichmann Trial," "Flux," "Galaxy" (B37), "The Glass Castle" (B46), "Grey Day," "I Can Call Nothing Love" (B64), "Images in Crystal" (B38), "In a Garden of the Pitti Palace" (B49), "A Long Line of Baby Caterpillars," "Love Story," "Mad Gardener to the Sea..." (B47), "Making" (B45), "Occasions of Desire," "A Pang Cantata," "Paolo and Francesca," "A Pardon to My Bones," "Picasso Exhibition: Paris, 1954" (B36), "Plankton Nor Perch...," "Poems of Dublin" (B33), "Poetics against the Angel of Death" (B69), "Propositions" (B42), "Seagulls in a Bay," "Sitting," "Small Satisfactions," "Summer" (B35), "Summer's Cat as the Ineffable," "A Tall Tale" (B40), "Three Haiku on a Literary Theme," "'The Time of Man': extrapolations from an article by Dr. Loren Eiseley" (B50), "To a Policeman Guarding the National Assembly" (B41), "To Friends Who Have Also Considered Suicide," "To Nellie," and "Two Pears: A Still Life."
A4 Naked Poems. Vancouver: Periwinkle, 1965. [52] pp.
Includes "Non Linear: [An instant of white roses....], [near the white Tanabe...], [the yellow chrysanthemums...] [B70], [Her sickness does not ebb...], [walking in dark...], [My white skin...], [A curve / broken...], [I am listening for...], [Hieratic sounds emerge...], [I hear the waves...], [the dead dog now...], [I have given up...], ['That ye resist not...']," "Some Final Questions: [What are you sad about?...], [Why are you standing there staring?...], [Now you are sitting doubled up in pain....], [What do you really want?...], [I don't get it. Are you talking about...], [But why don't you do something?...], [Why?...], [Oh?]," "[starfish...]," "Suite I: Moving, And, Tonight, The Bruise, Flies, Your Blouse, You" (B51), "Suite II: [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]" (B52), and "Suite of Lies."
Since "[Oh?]" is the complete poem fragment, the line is not followed by ellipsis.
A5 Selected Poems 1954-1965. Ed. and introd. John Hulcoop. Vancouver: Talonbooks, 1971. [23, 166] pp.
[underbar]Ed. and introd. John Hulcoop. Vancouver: Talonbooks, 1972. 23, 168 pp.
[underbar]Ed. John Hulcoop. Vancouver. Talonbooks, 1975. 130 pp.
The poems in this collection are authoritative texts having been corrected and revised by Phyllis Webb.
Includes "Alex" (B57), "And in Our Time" (A1), "Beachcomber" (A3), "Bomb Shelter" (A3), "Breaking" (B44), "The Colour of the Light" (A1), "The Construct of Years" (A1), "Double Entendre" (A2), "Earth Descending" (B17), "The Effigy" (B43), "Eichmann Trial" (A3), "Fantasia on Christian's Diary" (A2), "The Glass Castle" (B46), "I Can Call Nothing Love" (B64), "In a Garden of the Pitti Palace" (B49), "Incidental" (A2), "...Is Our Distress" (B8), "Lament" (B26), "Lear on the Beach at Break of Day" (A1), "A Long Line of Baby Caterpillars" (A3), "Love Story," (A3), "Mad Gardener to the Sea..." (B47), "Making" (B45), "Marvell's Garden" (A2), "The Mind Reader" (B25), "Moments Are Monuments" (B29), "Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You" (B51), "Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]" (B52), "Non Linear: [An instant of white roses....] [A4], [near the white Tanabe...] [A4], [the yellow chrysanthemums...] [B70], [Her sickness does not ebb...] [A4], [walking in dark...] [A4], [My white skin...] [A4], [a curve / broken...] [A4], [I am listening for...] [A4], [Hieratic sounds emerge...] [A4], [I hear waves...] [A4], [the dead dog now...] [A4], [I have given up...] [A4], ['That ye resist not...'] [A4]," "Pain" (A1), "A Pang Cantata" (A3), "A Pardon to My Bones" (A3), "Patience" (B1), "Poems of Dublin" (B33), "Poet" (B7), "Poetics against the Angel of Death" (B69), "Propositions" (B42), "Rilke" (B55), "Rust on an Anchor" (A2), "Sacrament of Spring" (B24), "The Second Hand" (A1), "The Shape of Prayer" (B30), "Sitting" (A3), "Some Final Questions: [What are you sad about?...], [Why are you sitting there staring?...], [Now you are standing doubled up in pain....], [What do you really want?...], [I don't get it. Are you talking about...], [But why don't you do something?...], [Why?...], [Oh?]" (A4), "Sprouts the Bitter Grain" (A2), "Standing (for Earle Birney)" (B23), "[star fish...]" (A4), "Suite of Lies" (A4), "Summer" (B35), "Summer's Cat as the Ineffable" (A3), "Sunday Morning Walk" (A2), "A Tall Tale" (B40), "'The Time of Man': extrapolations from an article by Dr. Loren Eiseley" (B50), "To Friends Who Have Also Considered Suicide" (A3), "Two Pears: A Still Life" (A3), and "Two Versions: 1. Poetry, 2. In Situ" (B32).
Since "[Oh?]" is the complete poem fragment, the line is not followed by ellipsis.
A6 Wilson's Bowl. Foreword Phyllis Webb. Toronto: Coach House, 1980. 1, 89 pp.
Includes "Composed Like Them" (B74), "The Days of the Unicorns," "Eschatology of Spring" (B75), "Ezra Pound" (B60), "Father" (B87), "For Fyodor" (B63), "Free Translations" (B71), "from The Kropotkin Poems," "Kropotkin" (B61), "Letters to Margaret Atwood" (B68), "Lines from Gwen. Lines for Ben." (B77), "Metaphysics of Spring" (B78), "Poems of Failure: I-VII" (B59), "A Question of Questions: I-V" (B62), "Rilke" (B55), "Socrates" (B73), "Solitary Confinement" (B66), "Spots of Blood" (B89), "Spring Thing" (B90), "Still There Are Wars and Crimes of War" (B72), "[Three?...]", "Treblinka Gas Chamber" (B67), "Vasarely: for Ann Richardson" (B79), and "Wilson's Bowl: Found Poem [B80], The Bowl [B85], She Sings [B82], In This Place [B81], The Place is Where You Find It [B83], Twin Masks [B84], Imperfect Sestina [B76]."
A7 Selected Poems: The Vision Tree. Ed. and introd. Sharon Thesen. Vancouver: Talonbooks, 1982. 12, 140 pp.
Includes "Alex" (B57), "And In Our Time" (A1), "The Bowl" (B85), "Breaking" (B44), "Chung Yung" (B5), "The Colour of the Light" (A1), "Composed Like Them" (B74), "Countered" (A3), "The Days of the Unicorns" (A6), "Double Entendre" (A2), "Earth Descending" (B17), "Edmonton Centre, Sept. 23/80" (B86), "Eichmann Trial" (A3), "Eschatology of Spring" (B75), "[Evening Autumn closes in. African marigolds...]" (A8), "Ezra Pound" (B60), "Father" (B87), "Field Guide to Snow Crystals" (B91), "For Fyodor" (B63), "Fragment" (A2), "Free Translations" (B71), "The Glass Castle" (B46), "[Heidegger, notes of music...]" (A8), "I Daniel" (B101), "[I watch the pile of cards grow...]" (A8), "Images in Crystal" (B38), "In This Place" (B81), "Lament" (B26), "Lear on the Beach at Break of Day" (A1), "A Long Line of Baby Caterpillars" (A3), "Love Story" (A3), "Mad Gardener to the Sea" (B47), "Marian Scott" (B27), "Marvell's Garden" (A2), "Metaphysics of Spring" (B78), "The Mind Reader" (B25), "Mourning Ballad" (A2), "[Mrs. Olsson at 91 is slim and sprightly....]" (A8), "[My morning poem destroyed by the good neighbour policy....]" (A8), "Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You" (B51), "Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse,...], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]" (B52), "Non Linear: [An instant of white roses....] [A4], [near the white Tanabe...] [A4], [the yellow chrysanthemums...] [B70], [Her sickness does not ebb...] [A4], [walking in dark...] [A4], [My white skin...] [A4], [a curve / broken...] [A4], [I am listening for...] [A4], [Hieratic sounds emerge...] [A4], [I hear waves...] [A4], [the dead dog now...] [A4], [I have given up...] [A4], ['That ye resist not...'] [A4]," "Old Woman" (B28), "Pain" (A1), "Patience" (B1), "Picasso Exhibition: Paris, 1954" (B36), "The Place Is Where You Find It" (B83), "Poems of Dublin" (B33), "Poems of Failure: I-III" (B59), "Poetics Against the Angel of Death" (B69), "Prison Report" (A14), "Propositions" (B42), "A Question of Questions: I, IV, V" (B62), "Rilke" (B55), "The Second Hand" (A1), "Sitting" (A3), "Socrates" (B73), "Some Final Questions: [What are you sad about?...], [Why are you standing there staring?...], [Now you are sitting doubled up in pain....], [What do you really want?...], [I don't get it. Are you talking about...], [But why don't you do something?...], [ Why?...], [Oh?]" (A4), "[star fish...]" (A4), "Suite of Lies" (A4), "A Tall Tale" (B40), "[Ten white blooms on the sundeck...]" (A8), "Three Mile Island" (A6--"[Three?...]"), "'The Time of Man': extrapolations from an article by Dr. Loren Eiseley" (B50), "To Friends Who Have Also Considered Suicide" (A3), "Treblinka Gas Chamber" (B67), "Two Pears: A Still Life" (A3), "Two Versions: 1. Poetry, 2. In Situ" (B32), and "Vasarely: for Ann Richardson" (B79).
Since "[Oh?]" is the complete poem fragment, the line is not followed by ellipsis.
A8 Sunday Water: Thirteen Anti Ghazals. Foreword Phyllis Webb. Island Writing Series. Lantzville, B.C.: Island, 1982. [1, 24] pp.
Includes "[The card is dealt, out of the blank pack...]," "[Drunken and amatory, illogical, stoned, mellifluous...]," "[Evening Autumn closes in. African marigolds...]," "[The flow, flux, even the effluent stormy...]," "[Heidegger, notes of music...]," "[I watch the pile of cards grow....]," "[Mrs. Olsson at 91 is slim and sprightly....]," "[My loves are dying. Or is it that my love...]," "[My morning poem destroyed by the good neighbour policy....]," "[The pull, this way and that, ultimately into the pull...]," "[Ten white blooms on the sundeck....]," "[Tuned lyre (lyrebird, mina...]," and "[Yahweh is a speckled bird pecking at treebark...]."
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Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
Item Number: ABCMA06PWP1000006006001001
Record: 422- Title:
- Part 2 Works On Miriam (Dworkin) Waddington: Articles and sections of books, thesis, interviews and profiles, bibliography, miscellaneous, and awards and honours; Articles and sections of books
- Other Title:
- Part 2: Works On Miriam (Dworkin) Waddington: Articles and sections of books, thesis, interviews and profiles, bibliography, miscellaneous, and awards and honours
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Ricou, Laurie (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 2: Works On Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 342-384)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP2
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Source: Part 2: Works On Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 342-384
Part 2 Works On Miriam (Dworkin) Waddington: Articles and sections of books, thesis, interviews and profiles, bibliography, miscellaneous, and awards and honours; Articles and sections of books
Ricou, Laurie (compiler)
[underbar]
C1 Birney, Earle. Editorial. Canadian Poetry Magazine, 10, No. 1 (Sept. 1946), p. 8. Rpt. ("The New Canadian Poetry Magazine") in Spreading Time: Remarks on Canadian Writing and Writers, Book 1: 1904-1949. Montreal: Vehicule, 1980, p. 83.
Birney notes that Waddington is a social worker in Montreal and has recently published Green World.
C2 Smith, A.J.M. "Miriam Waddington (1917- )." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and preface A.J.M. Smith. 2nd ed. Toronto: Gage, 1948, p. 431. (Revised) 3rd ed., 1957, p. 461.
Waddington's poems of "social sympathy" are distinguished by "simplicity of diction, originality of image, and generosity of feeling." A "fluid but clearly defined and quite original formal pattern" is revealed in some of her recent lyrics. Smith also includes brief biographical data.
C3 Sutherland, John. "The Past Decade in Canadian Poetry." Northern Review, 4, No. 2 (Dec.-Jan. 1950-51), 43, 46. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Canadian Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1970, pp. 118, 220. Rpt. in Essays, Controversies and Poems. By John Sutherland. Ed. Miriam Waddington. New Canadian Library, No. 81. Toronto: McClelland and Stewart, 1972, pp. 72, 74.
Sutherland includes Waddington in a list of poets who were concerned with "the problems which they believed then arose from class divisions in society." He also observes the "positive religious" quality of her poetry.
C4 Birney, Earle. Notes. In Twentieth Century Canadian Poetry: An Anthology. Ed. and introd. Earle Birney. Toronto: Ryerson, 1953, p. 151.
The emphasis in Waddington's "Lovers" is on "the strange other-worldliness of lovers."
C5 Smith, A. J. M. "Poet." In Writing in Canada: Proceedings of the Canadian Writer's Conference, Queen's University, 28-31 July 1955. Ed. George Whalley. Introd. F. R. Scott. Toronto: Macmillan, 1956, p. 23. Rpt. in Towards a View of Canadian Letters: Selected Critical Essays 1928-1971. By A. J. M. Smith. Vancouver: Univ. of British Columbia Press, 1973, p. 193.
Smith quotes from "Catalpa Tree" as an example of the "high-spirited" verbal "play" found in recent Canadian poetry.
C6 Frye, Northrop. "Preface to an Uncollected Anthology." Sec. II, The Royal Society of Canada, Toronto. 11 June 1956. Printed in Studia Varia: Royal Society of Canada, Literary and Scientific Papers. Ed. G. D. Murray. Toronto: Univ. of Toronto Press, 1957, p. 25. Rpt. (revised, abridged) in Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. Toronto: Gage, 1966, p. 518. Rpt. in The Bush Garden: Essays on the Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, p. 168. Rpt. in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Patterns of Literary Criticism, No. 9. Chicago: Univ. of Chicago Press, 1971, p. 186. Rpt. in Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. 3rd ed. Toronto: Gage, 1974, p. 597. Rpt. in Contexts of Canadian Criticism: A Collection of Critical Essays. Ed. Eli Mandel. Rev. ed. Toronto: Univ. of Toronto Press, 1977, p. 186.
Waddington is cited among writers of "satiric light verse" with unmistakably socialist moral implications.
C7 Pacey, Desmond. Ten Canadian Poets: A Group of Biographical and Critical Essays. Toronto: Ryerson, 1958, p. 274.
In the chapter on A. M. Klein, Pacey lists Waddington among a group of Montreal writers who joined Klein and F. R. Scott "in the early forties" and who gave "a new, bold, experimental impetus to Canadian letters."
C8 Rashley, R. E. Poetry in Canada: The First Three Steps. Toronto: Ryerson, 1958, p. 160.
Although the "Marxist theme" emerges in Waddington's verse, many of her poems concern an "individual reading of life." "Interval" provides an example of Marxist commentary.
C9 Wilson, Milton. "Other Canadians and After." Association of Canadian University Teachers of English, Univ. of Alberta, Edmonton, Alta. June 1958. Printed in The Tamarack Review, No. 9 (Autumn 1958), p. 83. Rpt. in Masks of Poetry: Canadian Critics on Canadian Verse. Ed. and introd. A. J. M. Smith. New Canadian Library Original, No. O3. Toronto: McClelland and Stewart, 1962, pp. 129-30.
Waddington's subject is the imperfections of "Living and Loving," tempered by "the memory of a green world of free acts.... Her tone...would link her with the Evangelical tradition in English literature.... She is a very uneven, often unsatisfying poet, whose work as a whole is more impressive than any poem or selection of poems can make it seem."
C10 Dudek, Louis. "Les Livres--Les jeunes poetes canadiens." Bulletin du Cercle Juif [Montreal], No. 43 (mars 1959), pp. 2, 4.
Waddington writes of suffering humanity, not as an observer, but as a participant in the misfortunes of others. Her poems of her personal life are very sensitive.
C11 Sowton, Ian. "The Lyric Craft of Miriam Waddington." The Dalhousie Review, 39 (Summer 1959), 237-42.
This review article discusses the particularities of Waddington's poetic craft and concentrates on The Season's Lovers. Waddington is a metaphysical lyricist, a Modernist who successfully manipulates old images: "the city as a macro-cosmic being, the paradox of intermingled selves that remain ultimately strangers, the word as creator, and the dream that outreals reality." Waddington is a "passive lyricist projecting the sensitive and intelligent self in the various attitudes of response from ecstatic to revulsive." The result is a close relationship between content and form: "...her content is almost lyricism itself." Waddington meets well the strict demands of the lyric for "selfcontainment and self-consistency." Yet there are some moments in The Season's Lovers when she is too clinically analytic, and the image of the drowned person is often imprecise and lax. Waddington's primary rhythm is a "run of ten-syllable lines, caesuraed into 4/6 cadences." She successfully integrates this form with her general theme of the drive of the self toward yet, paradoxically, away from other selves. This fusion of content and rhythm marks Waddington's commitment to the connection between lyric craft and the fundamentals of life and death.
C12 Wilson, Milton. "Recent Canadian Verse." Queen's Quarterly, 66 (Summer 1959), 270-71. Rpt. in Recent Canadian Verse. Gen. ed. and introd. Milton Wilson. Kingston: Jackson, [1959], pp. 3-4.
Wilson includes Waddington in a group of Canadian poets whose primary source of imagery is, not classical, but biblical. Waddington's "mythmaking seems less a matter of direct endeavour than a part of [her] everyday cultural inheritance."
C13 Pacey, Desmond. Creative Writing in Canada: A Short History of English-Canadian Literature. 2nd. ed. Toronto: Ryerson, 1961, pp. 167-70. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, Short Story Writers, Filmmakers, Scriptwriters, and Other Creative Writers. Ed. Jean C. Stine. Vol. XXVIII. Detroit: Gale, 1984, 436-37.
Waddington is cited among the poets who made their reputation in World War Two, "clustered" around John Sutherland and First Statement, and who sustained the "social realist group in the 1950s." Pacey traces the development of themes and techniques in Waddington's first three books. Green World establishes the "dominant theme" of her work: the "beauty and goodness of the natural world," the "ugliness and evil of contemporary industrial society," and the "positive liberating force [of] love." These poems are marked by their simplicity, "spontaneity," and "affirmation." Although the main themes recur in The Second Silence, her "scope" broadens, and "love" and "social evils" are treated in a "more complex" manner. Pacey notes a loss of enthusiasm, however, and despite an increase in "technical sophistication," he senses "a faintly artificial air." In her third book, Waddington generally pursues the themes of her earlier works, with the addition of the theme of art as a form of liberation. Her technique shows more explicit development in her use of "rhyme and rhetoric." Although Pacey feels there is "a lack of passionate conviction" in her work, he also notes that her "emotional responses" are sensitive and direct.
C14 "Miriam Waddington (1917- )." In Canadian Writers/Ecrivains Canadiens: A Biographical Dictionary. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Toronto: Ryerson, 1964, p. 135. Rpt. (revised) in [Ecrivains Canadiens/ Canadian Writers: A Biographical Dictionary. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Rev. and enl. ed. Toronto: Ryerson, 1966, pp. 94-95.
In Green World, Waddington writes in a "simple straightforward style colourful and melodic verse," which stresses the beauty of the natural world. Her later work reflects an increased awareness of social problems and the "process of personal resurrection and redemption." Biobibliographical data is also included.
C15 Beattie, Munro. "The Realization of a Tradition: Poetry 1935-1950." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 767, 769, 785. 2nd ed., 1976. Vol. II, 285-87.
Much of Green World celebrates "in sinuous cadences the joyous life of the senses." Waddington's central theme in The Second Silence is the "constriction of the adult life." In the second silence of the "world of dreams," the adult may sometimes "recapture the simplicity and completeness of the child's communion with reality," but is usually overcome by feelings of guilt and regret. While the fourth section of The Season's Lovers reflects Waddington's "considerable powers of phrasing and shaping stanzas," the poems in the third section are "aesthetically disappointing." Her best poems are those in which her "sardonic view of life" emerges.
C16 Klinck, Carl F., and Reginald E. Watters. "Miriam Waddington (1917- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. Rev. ed. Toronto: Gage, 1966, pp. 617-18.
Brief biograpical data.
C17 Canadian Literature/Litterature Canadienne 1959-1963: A Checklist of Creative and Critical Writings/Bibliographie de la critique et des oeuvres d'imagination. Ed. Inglis F. Bell and Susan W. Port. A Canadian Literature Supplement. Vancouver: Publications Centre, Univ. of British Columbia, 1966, pp. 52, 83.
Two bibliographical listings.
C18 Watters, R. E. "Miriam Waddington (1917- )." In Canadian Anthology. Ed. Carl F. Klinck and Reginald E. Watters. Rev. ed. Toronto: Gage, 1966, p. 720.
Brief bibliographical data.
C19 Watters, Reginald Eyre, and Inglis Freeman Bell. "Waddington, Miriam, 1917- ." In their On Canadian Literature 1806-1960: A Check List of Articles, Books and Theses on English-Canadian Literature, Its Authors and Language. Toronto: Univ. of Toronto Press, 1966, pp. 61, 162.
Bibliographical data.
C20 Woodcock, George. Introduction. In A Choice of Critics: Selections from Canadian Literature. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1966, pp. xii, xix. Rpt. (revised--"Views of Canadian Criticism: 1/In 1966" in Odysseus Ever Returning: Essays on Canadian Writers and Writing. By George Woodcock. New Canadian Library, No. 71. Toronto: McClelland and Stewart, 1970, p. 142.
Woodcock mentions Waddington's personal approach in her essay on A. M. Klein's The Second Scroll and includes her in a list of poets whose critical essays demonstrate an "admirable...dialogue" among Canadian writers.
C21 Story, Norah. "Waddington, Miriam (1917- )." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, p. 817.
Story provides biographical details before moving on to a consideration of Waddington's poetry: "...her warm, melodic verse celebrates the life of the senses in which disenchantment, loneliness, and the harrowing insights of a social worker are offset by the transforming powers of love and nature." She also notes that Waddington's poetry has been praised for "its perceptiveness and its lyric qualities."
C22 Pacey, Desmond. Essays in Canadian Criticism 1938-1969. Toronto: Ryerson, 1969, pp. 103, 108, 109-10, 129, 210.
Waddington, whose "diction is simple and colloquial" and whose "images" are "familiar," "reminds us . . . of Souster." The Second Silence and The Season's Lovers show "new dexterity of technique and a greater maturity of feeling."
C23 "Waddington, Miriam 1917- (E. B. Merritt)." In Contemporary Authors: A Bio-Bibliographical Guide to Current Authors and Their Works. Ed. Barbara Harte and Carolyn Riley. Vols. XXI-XXII. Detroit: Gale, 1969, 555-56. Rpt. (revised) in Contemporary Authors: A Bio-Bibliographical Guide to Current Authors and Their Works. Ed. Christine Nasso. Vols. XXI-XXIV. Rev. ed. Detroit: Gale, 1977, 905.
Bio-bibliographical data.
C24 Dudek, Louis. "2. Poetry in English." Canadian Literature, No. 41 (Summer 1969), p. 116. Rpt. in The Sixties Writers and Writing of the Decade. A Symposium to Celebrate the Tenth Anniversary of Canadian Literature. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, p. 116. Rpt. in Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, p. 261. Rpt. in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, p. 276.
Dudek includes Waddington in a list of poets who deserve some "serious study."
C25 Colombo, John Robert. "Waddington, Miriam (nee Dworkin)." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. New York: St. Martin's, 1970, pp. 1127-28. Rpt.(revised--"Waddington, Miriam") in Contemporary Poets. 2nd ed. Ed. James Vinson. New York: St. Martin's, 1975, pp. 1600-01. 3rd ed., 1980, pp. 1582-84.
Waddington feels that the key to her poetry is language, and Colombo notes the particular influences of Yiddish and Russian. Colombo considers her "one of the finest lyric poets of the day." Her poetry reveals "characteristic assertions of human worth and warmth, gentle imperatives, and a self-deprecating wit." Her imagery is intelligent yet not intellectual and is drawn from personal observations. Colombo also includes bio-bibliographical data.
C26 "Miriam Waddington, 1917- ." In Manitoba Authors/Ecrivains du Manitoba. Preface Guy Sylvestre. Introd. Wilfred Eggleston. Ottawa: National Library, 1970, n. pag; Items No. 251, 152, 153.
Brief bibliographical data.
C27 Gervais, C. H. Letter. The Fiddlehead, No. 85 (May-June-July 1970), pp. 5-6.
In criticizing Desmond Pacey's review of Say Yes (D68), Gervais rejects the traditional academic's approach, favouring an impressionistic, rambling appreciation of the wonder and the ordinary reality of Waddington's world.
C28 Pacey, Desmond. Letter. The Fiddlehead, No. 85 (May-June-July 1970), p. 6.
In his response to C. H. Gervais' letter (C27), Pacey acknowledges the value of another opinion and is pleased to agree with Gervais that "Dancing" is a very good poem.
C29 Reference Division, McPherson Library, Univ. of Victoria, B.C., comp. "Waddington, Miriam* 1917- ." In Creative Canada: A Biographical Dictionary of Twentieth-Century Creative and Performing Artists. Vol. I. Toronto: Univ. of Toronto Press, 1971, pp. 299-300.
Bio-bibliographical data.
C30 Thomas, Clara. "Miriam Waddington 1917- ." Our Nature--Our Voices: A Guidebook to English Canadian Literature. Vol. I of Our Nature--Our Voices. Toronto: new, 1972, pp. 142-43.
Thomas traces Waddington's development as a poet, noting that her childhood was enriched by the literary, political, and cultural atmosphere of her parent's home. Her early verse was marked by an "intensely personal" vision and often represented "a perfect blending of the nostalgic and the elegiac tones." More recently, Waddington has used shorter lines, and her verse has become more abstract. Her previously "personal" poetry has become more public, and she has become more involved in national concerns. Thomas also provides brief bibliographical data.
C31 Watters, Reginald Eyre. "Waddington, Miriam (Dworkin), 1917- ." In his A Checklist of Canadian Literature and Background Materials, 1628-1960, 2nd ed. Toronto: Univ. of Toronto Press, 1972, p. 202.
Bibliographical data.
C32 Gnarowski, Michael. "Waddington, Miriam, 1917- ." In his A Concise Bibliography of English Canadian Literature. Toronto: McClelland and Stewart, 1973, pp. 121-22. Rev. ed., 1978, p. 140.
Bibliographical listings.
C33 MacCulloch, Clare. The Neglected Genre: The Short Story in Canada. Guelph, Ont.: Alive, 1973, pp. 71-72.
In a discussion of the contemporary short story, MacCulloch cites Waddington's "Canadian Tradition and Canadian Literature" (B519) to support his view that there is nothing "truly original" in the recent Canadian short story.
C34 MacCulloch, Clare. "'The Nineteen Thirties Are Over': The Changing Face of Miriam Waddington's Poetry, with a Complete Bibliography." Alive [Guelph, Ont.], No. 31 (1973), pp. 39-40.
Waddington's poetry has moved "from that of a private meditation to that of a public nature," and this movement represents a "twentieth-century Canadian Odyssey." Over the years, much of her verse has been concerned with the question of where her home is, and her collected poetry provides "a retrospective view of her development and growth as a poet, as a woman, and as a Canadian." Green World "celebrates the joyous life of the senses" and of youth, while The Second Silence and The Season's Lovers deal with more adult concerns, particularly the experiences encountered by Waddington as a social worker. Subsequent books have explored the "disenchantment of the middle-aged, leftist, intellectual who seeks to discover herself by speaking out." The central theme of her poetry is "life," and much of her work focuses on love. She is one of the most "inward-looking" of Canadian poets, spending much of her creative time in her "private world." The theme of loneliness develops into a preoccupation with belonging, and her search for home has always resulted in a return to Canada. Recently, Waddington's poetry has become involved with "more obviously public concerns, needs and public events." In Driving Home: Poems New and Selected, she often deals with the "search for Canadian identity" and focuses more on the present than on the past. MacCulloch also includes some bibliographical data.
C35 Stevens, Peter. "Miriam Waddington." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, p. 310.
A capsule description of Waddington's shifts in subject from poems about her experiences as a social worker, to poems investigating psychological states of disillusion, to poems which express "a more positive note of guarded affirmation about her own life."
C36 Strickland, David. "Quotations" from English Canadian Literature. Modern Canadian Library. Toronto: Paguarian, 1973, pp. 76, 84, 96, 119, 123, 127, 143, 152.
The following works are listed under the following headings: "Icons" under "Hope" and "Past," "The Cloudless Day" under "Jews" and "Literature," "New Year's Eve" under "Novels," and "All Nature into Motion" under "Poets," "Sex," and "Survival."
C37 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature Series. Toronto: Methuen, 1973, pp. 146-48, 152-53.
Although Waddington does not agree with Northrop Frye's theories of myths and genres of literature, she explores various archetypes in her work, such as the archetypal association between innocence and birth. Her poetry also reveals an "internalization" of urban settings.
C38 Colombo, John Robert. "Waddington, Miriam." In his Colombo's Canadian Quotations. Edmonton: Hurtig, 1974, p. 618.
Colombo cites passages from Merle Shain (C79) and a passage from Waddington's "Love, to a Poet Is Many Things" (B503).
C39 Skelton, Robin. Letter. The Canadian Forum, Dec.-Jan. 1975-76, pp. 20-21.
Skelton points out that Waddington's earlier letter (B613) contains several errors.
C40 McCullagh, Joan. Alan Crawley and Contemporary Verse. Introd. Joan McCullagh. Foreword Dorothy Livesay. Vancouver: Univ. of British Columbia Press, 1976, pp. 1, 7, 17, 18, 24, 32, 85.
Waddington's appearance in the third issue of Contemporary Verse helps establish the "coherence and depth" of the magazine. Waddington is a "dominant figure" in the 1941-46 period; her poems "examine the depersonalized lives of people in a newly urbanized and industrialized Canada." The book includes an Index to Contemporary Verse, which includes Waddington's contributions.
C41 Pacey, Desmond. "The Course of Canadian Criticism." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 24, 29, 31.
Waddington's A. M. Klein is "marred by her apparent anxiety to score debating points over other critics," but her "knowledge of Yiddish language and literature often yields fresh insights."
C42 Ross, Malcolm. "Critical Theories: Some Trends." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd. ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 162, 175.
Ross singles out Waddington as the most accomplished critic of A. M. Klein.
C43 Woodcock, George. "Poetry." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 311.
The publication of The Glass Trumpet, Say Yes, and Driving Home: Poems New and Selected marked a "considerable shift in sensibility." The later poems reveal a "greater richness of insight."
C44 Livesay, Dorothy. "Canadian Poetry and the Spanish Civil War." The Social and Cultural Aftermath of the Spanish Civil War, Bethune College, York Univ., Downsview, Ont. 10-14 March 1976. Printed in CV/II, 2, No. 2 (May 1976), 15, 16.
Waddington's "Ballet" and P. K. Page's "Poem" are cited as examples of women's poetry "written after the defeat of Spain, but...haunted by that disaster.... Waddington and Page have each written more than a half dozen poems with roots in the Spanish experience." The Spanish Civil War carried "reverberations" to Canadians, and Waddington is cited among those who "carried the message further through the Second World War."
C45 L[ivesay]., D[orothy]. "Expatriates, Exiles and Some Homebodies." Editorial. CV/II, 2, No. 4 (Dec. 1976), 2.
Waddington "has been influenced by her Yiddish and Russian roots while writing most movingly from the heart of Canadian cities."
C46 Brown, E. K. Responses and Evaluations: Essays on Canada. Ed. David Staines. New Canadian Library, No. 137. Toronto: McClelland and Stewart, 1977, pp. 246-48.
The poems in Green World "express her revulsion from the social structure of the time, her pain in personal relationships, and even a dark view of natural beauty." Her verse is "slow-moving and bored," and "crises of despair or pessimism" are absent.
C47 McClung, M. G. Women in Canadian Literature. Women in Canadian Life. Toronto: Fitzhenry and Whiteside, 1977, pp. 40-42, 58, 64, 70.
McClung briefly summarizes the shifting themes found in Waddington's books of poetry. Her "poems are notable for their immediacy, their vitality, and their unsentimental love of a country seen more as an urban than a rural environment." The book contains incidental references to anthologies that include her work, a few bibliographical notes, and questions designed to promote discussion.
C48 Endres, Robin. "Marxist Literary Criticism and English-Canadian Literature." In In Our Own House: Social Perspectives on Canadian Literature. Ed. and introd. Paul Cappon. Toronto: McClelland and Stewart, 1978, pp. 110-11.
Endres quotes from Waddington's essay "Canadian Tradition and Canadian Literature" (B519) to illustrate the rare Canadian criticism that begins with "the historical and social context of literature." Waddington sees "apocalyptic-mythic criticism" as "explicitly or implicitly reactionary."
C49 Frayne, Helen. "On Quebec: An Interview with Louis Dudek." Anthology. CBC Radio, 10 July 1977. Printed in CV/II, 3, No. 3 (Jan. 1978), 38.
Dudek includes Waddington among the 1940s protest poets of Montreal. Their thinking "derived from Stephen Spender, W. H. Auden and the old left."
C50 Stevens, Peter. "Waddington, Miriam [Dworkin] (1917- )." In his Modern English-Canadian Poetry: A Guide to Information Sources. Vol. XV of American Literature, English Literature and World Literatures in English. Detroit: Gale, 1978, pp. 10, 14, 70, 149-50.
Although her early work often reflected her experiences as a social worker and later focused on "states of disillusionment and loss," Waddington's most recent work emerges as an "assessment of her heritage." Her poetry has moved from her "early sensuous diction and traditional metrics" to a briefer and more direct form of verse. Stevens includes bibliographical data.
C51 Granite, M. J. "How to Write Better in Canada: An Essay on Miriam Waddington's Recent Work." Letter. Canadian Jewish Outlook, May 1978, p. 13.
An address to the poet, in the form of a letter, uses her question of how to write better in Canada as a theme. Quoting liberally from Waddington's verse, Granite considers notions of national identity and "Jewish Canadian regionalism." The writer suggests how deeply Waddington's complex heritage--and especially her "immigrant anarchist father"--governs her poetry.
C52 Ricou, L. R. "Into My Green World: The Poetry of Miriam Waddington." Essays on Canadian Writing, No. 12 (Fall 1978), pp. 144-61. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, Short Story Writers, Filmmakers, Scriptwriters, and Other Creative Writers. Ed. Jean C. Stine. Vol. XXVIII. Detroit: Gale, 1984, 439-40.
Ricou explores the metaphorical and critical value of "leaf-language," which in one poem describes Waddington's early and abiding fascination with the green world. Citing her interest in Stanley Burnshaw's The Seamless Web, Ricou argues that Waddington is "unconcerned with poetic theory as something which might govern her own verse" and stresses her faith in the naturalness of the process of creation. Ricou discusses the "shimmer of ambiguity" in Waddington's poetry, whether in poems with a muted social message, or in those which present us with a child's vision of the world "green and golden," or in a poem like "The Eight-Sided White Barn" that moves from barn to "barn-boat" to a human journey to find the "broken leaf"--in other words, "to live freely and with continual renewal." Though Waddington has her weaknesses, mainly in her social and political poems, her strength lies in the new relationships she finds between self and green world. In this continuing interest, she particularly resembles Theodore Roethke.
C53 Pacey, Desmond. Essays: Canadian Literature in English. Ed. and preface A. L. McLeod. Foreword. H. H. Anniah Gowda. Powre above Powres, No. 4. Mysore, India: Centre for Commonwealth Literature and Research, Univ. of Mysore, 1979, pp. 122-23.
Waddington is a member of the First Statement group. She "has [Louis] Dudek's and [Raymond] Souster's directness, honesty, and social realism, but also something of [P. K.] Page's and [Patrick] Anderson's metaphysical subtlety and ingenuity." Waddington writes with "a peculiarly feminine intuitiveness and compassion." Pacey notes that her experiences as a social worker have given her "tenderness and pathos which seldom deviate into sentimentality." In the past, her style, tone, and values have wavered, but Driving Home: Poems New and Selected "may herald a new clarity and firmness in her work."
C54 Birney, Earle. "As I Remember. 1946: OctoberDecember." In his Spreading Time: Remarks on Canadian Writing and Writers, Book 1: 1904-1949. Montreal: Vehicule, 1980, p. 84. Rpt. (revised--"Struggle against the Old Guard: Editing the Canadian Poetry Magazine") in Essays on Canadian Writing, No. 21 (Spring 1981), p. 13. Rpt. in Perspectives on Earle Birney. Canadian Perspectives, No. 3. Downsview, Ont.: ECW, 1981, p. 13.
Waddington and her husband (Patrick Waddington) encouraged Birney while he was editor of the Canadian Poetry Magazine.
C55 Birney, Earle. Spreading Time: Remarks on Canadian Writing and Writers, Book 1: 1904-1949. Montreal: Vehicule, 1980, pp. 33, 65.
Birney notes that, unlike many English students who completed M.A.'s and Ph.D.'s, Waddington became a social worker and poet.
C56 Voldeng, Evelyne. "Miriam Waddington." In Femme Plurielle. Ed. and trans. Evelyne Voldeng. [Ottawa]: Dept. d'Etudes Francaises, Carleton Univ., 1980, p. 55.
Voldeng includes a brief bio-bibliographical introduction to Waddington's poem "In the Big City." Waddington's essentially lyrical poetry "revele sa profonde sensibilite feminine, sa vitalite et sa sincerite passionnee."
C57 Adamson, Arthur. "Notes from a Dark Cellar: Ruminations on the Nature of Regionalism and Metaphor in Mid-Western Canadian Poetry." Essays on Canadian Writing, [Prairie Poetry Issue], Nos. 18-19 (Summer-Fall 1980), pp. 226-29, 239. Rpt. in RePlacing. Ed. Dennis Cooley. Downsview, Ont.: ECW, 1980, pp. 226-29, 239.
In "Sorrow Song," Waddington is concerned with the "inevitable change that requires a readjustment of one's self," with both weather and climate operating as "metaphors for the rhythms and dissonances of experience."
C58 Beckmann, Susan A. "Prairie Harvest: A Consideration of Two Anthologies of Prairie Poetry." Essays on Canadian Writing, [Prairie Poetry Issue], Nos. 18-19 (Summer-Fall 1980), pp. 195, 199. Rpt. in RePlacing. Ed. Dennis Cooley. Downsview, Ont.: ECW, 1980, pp. 195, 199.
Waddington's poem "Provincial" reflects "a personality that claims imaginative possession of the Prairie, albeit the Prairie of her childhood." The "emptiness" of the childhood memories remains unrealized, and the poem is more convincing in its description of Waddington's European experience.
C59 Kostash, Myrna. "Response." NeWest Review, 6, No. 1 (Sept. 1980), 7.
Kostash thanks Waddington for contributing to the knowledge of "radical ethnic literature" in her "Memoirs of a Jewish Farmer" (B510) and points out that her remarks regarding the differences between memoirs and autobiographies aid in an appreciation of this kind of writing. She regrets, however, that Waddington did not develop the idea that "Canadian writers are engaged with theology."
C60 Jacobs, Maria. "The Personal Poetry of Miriam Waddington." CV/II, 5, No. 1 (Autumn 1980), 26-33.
Jacobs discusses the often-mentioned "personal" quality of Waddington's poetry by emphasizing that while the feelings of a poetic self are revealed, the "poetry is not confessional." But "personal" is a far better description of Waddington than the opinion that her poetry is mainly "'passive'" and "accepting." The article begins with a biographical note, pointing to the Jewish, socialist, social worker, and academic influences on her poetry and noting her close alliance with John Sutherland and First Statement. Jacobs sees Waddington as an urban poet for whom nature is mainly a reminder of "childhood" or a "contrast" to the city. Her characteristic poetry is direct and "straightforward," which may account for the lack of scholarly attention given to Waddington. Most of the essay lists quotations, illustrating Waddington's lack of concern for a "consistent" philosophy, her sense of the unbridged "gap between male and female," and her theme "of lost love." Waddington's humour is praised, but is shown to be weak in contrast to the lengthy excerpt from Kenneth Koch. Jacobs concludes with brief allusions to some of Waddington's weaknesses: she should speak more of "social problems" and the "experience of being Jewish." A lengthy objection to the inadequacies of Waddington's short line follows, but these are quibbles in view of Waddington's admirably risky expression of "emotional uniqueness" and her careful "respect for language."
C61 Precosky, Don. "Preview: An Introduction and Index." Canadian Poetry: Studies, Documents, Reviews, No. 8 (Spring-Summer 1981), p. 88.
Precosky lists a few of Waddington's poems and notes that she was one of the writers involved in Preview.
C62 Stevens, Peter. "Miriam Waddington 1917- ." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto/Downsview, Ont.: General/ECW, 1982. Vol. I, 317-18.
In the 1950s, Waddington "became more fully conscious of her desire to write a strict and intellectual poetry, which derived in part from . . . the Metaphysical poets. At this time her poems depended on traditional form and regular metrical arrangements," even in her social-perspective poems. Her "more private and visionary world became the strongest thrust of her poetry as her writing took on a looser structuring. In the 1960s, while her poetry often retained stanzaic forms, the language turned to more colloquial patterns with a carefully controlled rhythmic flow, speechlike but with a rigorous hold on stress within lines." Stevens notes how this "ease of lining, diction, and rhythm worked within the dichotomies she felt about her principal themes." Bio-bibliographical data is included.
C63 Woodcock, George. "Canadian Poetry: An Introduction to Volume One. In Canadian Poetry. Ed. Jack David and Robert Lecker. New Press Canadian Classics. Toronto/Downsview, Ont.: General/ECW, 1982. Vol. I, 18, 28.
Waddington, among others, lies at the end of the Victorian influence on Canadian poetry. Her career has been "continuous" and consistent, rather than strikingly variated.
C64 Bastein, Friedel H. "'A European Writer in Canada': A Brief Introduction to the Life and Work of Miriam Waddington." In Voices from Distant Lands: Poetry in the Commonwealth. Ed. and introd. Konrad Gross and Wolfgang Klooss. Wurzburg, W. Ger.: Konigshausen und Neumann, 1983, pp. 94-97.
This biographical and bibliographical summary emphasizes Waddington's "lyric gift," her humanism, and her "wit and courage."
C65 Bennett, Donna, and Russell Brown. "Miriam Waddington, b. 1917." In An Anthology of Canadian Literature in English. Ed. Donna Bennett and Russell Brown. Vol. II. Toronto: Oxford Univ. Press, 1983, 23-24.
In addition to bio-bibliographical data, the editors summarize the movement in Waddington's work "from a poetry emanating from social experience to a more personal, introspective one," and from "loose" lines to "short lines . . . and a simplified, less dramatic diction." Despite the general "sense of displacement" and dark in her later work, the "loss is always mitigated, for she retains threads of traditions that still anchor her, memories that keep her company, and an ironic sense of humour."
C66 Cooley, Dennis. "Waddington, Miriam." In The Oxford Companion to Canadian Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1983, pp. 817-18.
The entry joins biographical and bibliographical data to a compact summary of Waddington's poetry. Waddington's first two books transmute experiences of childhood "through traditions of fairy tale and of pastoralism that includes Blake, Wordsworth, and Archibald Lampman." In The Glass Trumpet, she "frees up sounds and meanings by breaking syllables across lines, and by using the line itself as a unit of meaning." Say Yes "shows further formal departures" as "punctuation and capitalization virtually disappear." In the later books Waddington's "life-long outrage at injustice takes on new life," but, on the whole, the later work is less satisfying than the earlier.
C67 Ricou, Laurie. "The Naive Eye in the Poetry of Dorothy Livesay, P. K. Page, and Miriam Waddington." In Voices from Distant Lands: Poetry in the Commonwealth. Ed. and introd. Konrad Gross and Wolfgang Klooss. Wurzburg, W. Ger.: Konigshausen und Neumann, 1983, pp. 108-114.
In an essay on the three poets' presentation of the child's perception, Ricou presents a reading of Waddington's poem "Laughter" to support the view that she finds the child's "articulation and understanding of the world . . . continuous . . . with the adult's."
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C100 First Prize, Serious Verse. The Varsity [Univ. of Toronto] for "The Exiles: -- Spain" (B1) (1936).
C101 Honourable Mention, Serious Verse. The Varsity [Univ. of Toronto] for "Early Snow" (B12) (1938).
C102 Second Prize, Fiction. The Varsity [Univ. of Toronto] for "A Jar of Raisins" (B363) (1938).
C103 Borestone Mountain Poetry Award for "Elegy for John Sutherland" (B139) (1959).
C104 Canada Council Senior Arts Fellowship (1963).
C105 Borestone Mountain Poetry Award for "The Land Where He Dwells In" (B179) (1964).
C106 Canada Council Leave Fellowship (1968-69).
C107 Canada Council Arts Award (1971-72).
C108 J. I. Segal Award for Driving Home: Poems New and Selected (1972).
C109 Borestone Mountain Poetry Award for "Ten Years and More" (B312) (1975).
C110 D. Litt., Lakehead University, Thunder Bay (1975).
C111 Annual Award, Association for Canadian and Quebec Literatures (1979).
Waddington shared the award with Gabrielle Roy.
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C98 Ricou, Laurence R. "Miriam Waddington: A Checklist 1936-1975." Essays on Canadian Writing, No. 12 (Fall 1978), pp. 162-91.
Bibliographical data for primary and secondary works for the years 1936-75.
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C69 "But It's No Snap--Housework, Poetry Blend as 'Outside Interest Needed.'" The Gazette [Montreal], 4 Feb. 1955, Sec. I, p. 10.
Waddington believes that housewives should develop personal interests, but points out that writing poetry is not an easy task. Her husband, Patrick Waddington, is supportive of her work, and she finds writing a "natural expression." Her literary, professional, and personal background is briefly profiled, and the author notes that many of Waddington's personal experiences are reflected in her poetry.
C70 Adilman, Sid. "Poetic Justice from the Embassy Crowd." The Telegram [Toronto], 1 Nov. 1963, p. 43.
Waddington was self-conscious reading a series of her love poems at the Bohemian Embassy, partly because she feels it is "hard to separate myself from my poems." The poems focused on first love and were well received by those who attended the gathering.
C71 Munk, Linda. "Four Women Poets." The Globe and Mail [Toronto], 28 Jan. 1965, Sec. Women, p. 1.
Munk reports on an interview conducted in Waddington's York University office. Waddington briefly discusses her professional and artistic background. She feels the woman poet is at a great disadvantage and describes her unmilitant feminism.
C72 Webb, Phyllis. "Poets Here, Now and Then: Cross Currents of the Forties." Interview with Miriam Waddington, Irving Layton, and F. R. Scott. Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 30 April 1967.
Waddington notes the influences of Spain, Freud, and war in her early poetry. A discussion of the poetical activity in Canada in the 1930s and 1940s focuses on First Statement and Preview, Waddington remembering the latter as being "very cliquey, very WASP." While Patrick Anderson was a "fake," John Sutherland was "a real poet, way ahead of his time." Alan Crawley "loved poetry," and he would publish almost anyone in his Contemporary Verse. E. J. Pratt was not "groupy" and did not "promote his personality." He was interested in history and humanity, and he "wasn't contemporary in the general sense that we were." Waddington also reads "The Bond" (B637).
C73 Webb, Phyllis. "Poets Here, Now and Then." Interview with Earle Birney and Miriam Waddington. Host Phyllis Webb. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 25 June 1967.
Waddington discusses the poems in Call Them Canadians: A Photographic Point of View and discusses the specific themes which she was asked to write about. According to Waddington, "Poetry is magic because it transforms both the world and, I suppose, the poet." While "most of my poetry is rather melancholy," reaching middle age helps an individual to "see the comedy of life." Waddington also reads several poems (see B638-B642).
C74 Rodriguez, Elizabeth. "A Report on the Poets at Festival 70 (Bishop's University)." The Fiddlehead, No. 84 (March-April 1970), p. 124.
In a discussion of the "over-praising of the 30's-40's version of the Montreal and Toronto schools [of poetry] (linked because of the combined presence of Montreal and Toronto poets at the Conference)," Rodriguez notes that "...the elder Canadian poets, Eli Mandel, Marian [sic] Waddington, [et al.]...made their uneasiness well felt by the audience" during their panel discussion.
C75 "Poetess Recalls City in the '20s." Winnipeg Tribune, 10 Dec. 1970, p. 11.
In the 1920s, the north end of Winnipeg was strongly influenced by Russians and Ukranians. After reading some of her poems, Waddington notes that much of her work was either directly or indirectly about Winnipeg. She also comments on her feeling that "you can't lead a trivial life and write poetry."
C76 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with George Bowering, Leonard Cohen, John Robert Colombo, Louis Dudek, Joan Finnigan, Northrop Frye, Michael Gnarowski, Phyllis Gotlieb, Ralph Gustafson, David Helwig, D. G. Jones, Dennis Lee, Tom Marshall, John Newlove, Bruce Ruddick, F. R. Scott, A. J. M. Smith, Miriam Waddington, and Milton Wilson. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 22 May 1971.
In Part II of a seven-part series, Anderson discusses what makes poets and their poetry Canadian with a number of poets and critics. Waddington feels that a person's first impressions are the most lasting, and, for her, the "Prairies are the source of my work and my whole attitude toward life." She feels she has more in common with artists, such as painters, who are from the Prairies. The Canadian landscape is very austere, and snow and white are recurring themes in Canadian poetry because they are part of our experience, and "poetry is about a poet's experience."
C77 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Margaret Avison, Margaret Atwood, Nelson Ball, Victor Coleman, Northrop Frye, John Glassco, Irving Layton, Dennis Lee, Dorothy Livesay, Gwendolyn MacEwen, Eli Mandel, Anne Marriott, John Newlove, Glen Siebrasse, Francis Sparshott, Peter Stevens, Miriam Waddington, Milton Wilson, and George Woodcock. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 19 June 1971.
In Part VI of a seven-part series, Anderson discusses small presses and literary criticism with a number of poets and critics. Waddington briefly comments upon the "garrison mentality," noting that it is a "corny cliche" and that she does not agree with it.
C78 Anderson, Allan. "Poets of Canada: 1920 to the Present." Interview with Milton Acorn, Margaret Avison, Henry Beissel, Earle Birney, George Bowering, John Robert Colombo, Frank Davey, Ronald Everson, Joan Finnigan, John Glassco, Phyllis Gotlieb, David Helwig, George Johnston, George Jonas, Irving Layton, Anne Marriott, John Newlove, Alden Nowlen, Michael Ondaatje, James Reaney, Miriam Waddington, and Robert Weaver. Anthology. Supervising prod. Alex Smith. Ed. Robert Weaver. CBC Radio, 26 June 1971.
In Part VII of a seven-part series, Anderson discusses the practical aspects of being a poet with a number of poets. Waddington's closest friends are usually painters because there is an absence of competition and they can freely discuss the frustrations and the enthusiasms they experience regarding their work. She feels there is a "pecking order" and a lot of "politics" and competition in Canadian poetry. It is hard to separate yourself from the "disgusting, ugly, wordly marketplace," but the poet must always remind herself that the writing of poetry is a more important concern.
C79 Shain, Merle. "Some of Our Best Poets Are...Women." Chatelaine, Oct. 1972, pp. 103, 104, 105.
The occasion of the article is the publication of Dorothy Livesay's 40 Women Poets of Canada. There is a photograph of Waddington on page fifty with the caption: "York University professor and a nationalist, writes of the 'changing Canadian myth.'" Waddington is described as being "very interested in horoscopes." Shain groups her with poets who write "almost as a biological necessity." Each poet is given a short section, which includes one of her poems (B218). A biographical note identifies Waddington's poetry as "psychological," written in a voice that combines "Yiddish and growing up in the prairies." Shain concludes with Waddington's comment that men "'find it hard to accept the fact that women have ideas.'"
C80 Vasey, Paul. "Impulse Is to Withdraw." The Citizen [Ottawa], 15 Nov. 1972, p. 51.
Waddington notes that she has attempted to simplify her style. Manitoba and the Europe of her ancestors have influenced her poetry, which "perhaps explains the clarity of her writing." Her teaching position interferes with her writing, and she finds that her "impulse is to withdraw completely." She admits that having never won a Governor-General's Award has led to a feeling of being unrecognized. Finally, she states that younger Canadian poets would benefit from "some suitable restraint" in their work.
C81 Interview with Miriam Waddington. Ideas FM: Works of Contemporary Canadian Women Writers. Prod. Patricia MacFarlane. CBC-FM Radio, 28 Dec. 1972. (17 min.)
The easiest way for Waddington to write a poem is to fall in love, because it creates "just the kind of heightened emotional state out of which I write my best poems." Even after forty years of writing, she still finds the writing of a poem mysterious, something that can never be totally understood or described. Form is impossible to separate from content in art. It is "really the way the eye of the world enters into the chaos of the artist's unconscious," and it "reshapes these vague elements into some kind of meaning." Poetry cannot be taught, since it is a "psychological attitude toward life." Although criticism does not affect her now, Waddington feels that critics can have a bad effect on young writers by praising some qualities and ignoring others. At one time, she developed a passionate identification with seventeenth-century poetry and started writing formal, metaphysical lyrics like "Exchange." She concludes by noting that "no inner world can exist in the self of the poet as apart from the outer world any more than it can in the poem itself." Waddington also reads several poems (see B686-B691).
C82 Fulford, Robert. Interview with Miriam Waddington. This Is Robert Fulford. CBC Radio, 25 March 1973.
Waddington discusses her attraction to John Sutherland, but she did not like the "bohemian lifestyle" and was somewhat shocked by poverty. Montreal was more exciting than "uptight, dreary" Toronto, but there was not a very strong sense of cohesion among Montreal writers. Sutherland wanted to be converted to Marxism because "...he wanted to believe in something." By the time he started Northern Review, he had been converted to Catholicism and his interest in Catholic writers from England and the United States overshadowed his interest in Canadian writers. It is difficult to guess how Sutherland would have viewed the contemporary literary scene because he "changed his mind a lot. He had a peculiar kind of intensity" and a "certain abstractness."
C83 Mayne, Seymour. "A. M. Klein: A Portrait of the Poet." Interview with Louis Dudek, P. K. Page, F. R. Scott, and Miriam Waddington. Encore. Prod. Bill Terry. CBC Radio, 6 Nov. 1973.
Waddington remembers Klein as a "really Jewish man, a European Jewish man such as my father and his friends." He was probably "very shy in all his personal relationships."
C84 Macdonald, Vivian. "Know the Tradition, Poet Advises Aspiring Writers." The Citizen [Ottawa], 25 Sept. 1974, p. 43.
Although many things in Waddington's early life were "against being a writer," she persisted and has become a well-known poet and critic. She feels it is impossible to teach someone to be a poet, since they have to teach themselves. Reading good writers, such as Alice Munro and W. O. Mitchell, is one way for aspiring writers to develop their own styles. Writers must also have a "moral vision." Waddington's own attitudes toward morality have developed from her Jewish background.
C85 Brown, Harry, host. Morningside. Prod. Krista Maeots. CBC Radio, 24 Sept. 1976. (7 min.)
It is "a real pleasure being a poet." Although there is a struggle in putting the poem into shape, poets generally "entertain themselves and play a lot." Life is often sad, and "that's one of the realities that poets are put into the world to bring to people's minds." A poem should be "a complete experience" and should cause a feeling of resolution in the reader. Being a female poet makes a difference, because "...men are very suspicious of women." Waddington also reads two poems (see B701-B702).
C86 Wachtel, Eleanor. "Miriam Waddington on Vancouver." Room of One's Own, 3, No. 1 (1977), 2-7.
This introduction to Waddington consists largely of quotattons from an interview. Waddington talks of her family background and her poetry. The emphasis of the article is feminism and the poet's sense of herself as a woman. Waddington "is in sympathy with causes, feminism and socialism, but is soft politically. She wishes she could write poems of greater social import and consciousness, but her territory is relationships and landscapes, simplicity and humour."
C87 Amiel, Barbara. "When the Well-Versed Gather." Maclean's, 13 June 1977, p. 76.
In a commentary on the Great Canadian Poetry Weekend at Blue Mountain, Ontario, Amiel reports that some tension arose after P. K. Page read her version of one of Waddington's poems.
C88 "Dorothy Shoemaker Literary Award." Ontario Library Review, 61 (Sept. 1977), 238-39.
In this announcement of the selection of Waddington as one of the judges in the Dorothy Shoemaker Literary Award, her professional and literary careers are briefly surveyed. Her work is widely published, and she was influential in the Montreal poetry revival of the late 1940s.
C89 Amos, Robert. "Miriam Waddington." CV/II, 4, No. 1 (Winter 1979), 26.
A caricature drawing of Waddington.
C90 Woods, Elizabeth. "Poet's Progress." Quill & Quire, June 1979, p. 28.
In a report of the Annual General Meeting of the League of Canadian Poets, Woods mentions that Waddington was refused financial assistance from External Affairs to attend a poetry festival in Yugoslavia.
C91 Pearce, Jon. "Bridging the Inner and Outer." In his Twelve Voices: Interviews with Canadian Poets. Ottawa: Borealis, 1980, pp. 175-87.
After providing some biographical and bibliographical information, Pearce begins the interview by asking about the transition from innocence to experience in Waddington's work, categories that she does not feel apply to the "essence" of her poetry. Waddington notes that she has never developed "technique apart from content" and that, since a poem has its "own integrity," she has never revised her early work. Poets are not made but born, and "...it requires a certain technical gift to be a poet." When asked why she writes, Waddington suggests that it may be the only way she "can express certain of the inner pressures that accumulate," concluding, however, that the true reason remains a mystery. "In My Dream Telescope" marks her growing awareness of "inner chaos." Form is "organic" because it cannot be separated from content and is the "bridge between the inner and outer." She is amazed that people are interested in the "creative process," but, for her, it is a "journey that never ends and the landscape keeps changing.... [Y]ou have the experiences that your writing requires," since a poet's "unconscious" will drive her into situations that will be good for her writing. Although she is not familiar with contemporary American poetry, Waddington feels that Canada's poets are better than those in England.
C92 Reeves, John. "John Reeves' Literary Portraits: Miriam Waddington." Canadian Fiction Magazine, Nos. 34-35 (1980), pp. 76-77.
There is an "atmosphere of sumptuous sensuality" around Waddington, and Reeves imagines her as a "Queen of the Desert." A photograph accompanies his comments.
C93 Peterson, Leslie. "Leslie Peterson." The Vancouver Sun, 4 Jan. 1980, p. 33L.
Peterson notes that Waddington and Al Purdy, the first participants in the Canada Council's new Canada-Wales writers-exchange program, will visit Wales. They will be giving readings and talks and will also take part in seminars.
C94 Hancock, Geoff. Interview with Miriam Waddington. In Modern Canadian Poets: A Recorded Archive. Prod. Rick Curtis. Toronto: League of Canadian Poets, [1982?].
After briefly discussing the way in which Waddington's experience as a social worker affected her earlier poetry, she notes that "I never had any illusions that poetry was going to change the world because not many people read poetry." Most of the poets writing in the 1940s knew each other. These poets were aware of the poetry being published elsewhere and "We all thought of ourselves as Modern poets." When Hancock asks if she is concerned with the "technical aspects" of poetry, Waddington says that "I always wanted language to be transparent. I didn't want to write rhetorical, intellectual poetry." For her, "Language is the most important aspect of poetry," and the connection between form and content is "an artificial dichotomy." She concludes the interview by noting that "I'm probably a kind of Realist Romantic, or a Romantic Realist, and I am a lyric writer." The tape also includes a number of Waddington's poems (B638, B681, B690, B703-B719).
C95 Matyas, Cathy. "Miriam Waddington." In Profiles in Canadian Literature. Ed. Jeffrey M. Heath. Vol. IV. Toronto: Dundurn, 1982, 9-16.
A sense of "exile"--as immigrant, "Jew," "woman," "artist," and "Canadian"--"is central to most of Waddington's poetry." Her "poetic voice has always been . . . very personal and introspective." Yet, if the many love poems emphasize "a love that is longed for, lost or misunderstood," the "influence of the seventeenth-century metaphysical writers, as well as of Yeats, Dylan Thomas, Yiddish folklore, and the fairy tales of Hans Christian Anderson..., are responsible for her [Waddington's] magical and whimsical qualities." Waddington longs "for ancestral roots" and for "the innocence of childhood" so often associated with "the simplicity of the natural world." In later poems, Waddington's exile is expressed in different terms, either through the "inadequacy" of an imperial "language" to deal with the Canadian experience, or through her reflections on old age.
C96 Moritz, Albert. "From a Far Star." Books in Canada, May 1982, pp. 5-8.
Waddington's poetry "has always celebrated the depths within common things, depths beyond mysticism and pain." The "sweetness of idea and language" in her work comes from her "familiarity with another literature and other traditions." Moritz discusses Waddington's cultural and political background, noting her involvement in the Montreal literary movement of the 1940s. Her poetry has become shorter, sparer, "more nervous and muscular," and she has moved away from the "flowing lyrical phrases" and the "often rhetorical anger" of her earlier work. Her poems are "individual short wholes, not related to a consciously elaborated life's work," and the unity of her poetry "comes from the unity of her life." After noting her current involvement in teaching and scholarly writing, Moritz includes Waddington's comments on her reception as a poet: "'I don't have the place in Canadian literature that I think I deserve . . . and I think I know why. I'm a Jew, a woman, I don't write out of the Canadian tradition.'"
C97 Jacobs, Maria. "Interview with Miriam Waddington." Poetry Toronto, Sept. 1982, n. pag.
Waddington defines "mainstream" poetry as poetry that is "popular in Canada today--what reviewers can understand." Her poems are not "mainstream" because their subjects do not appeal to reviewers, who are generally male. Confessional poetry and conventional metrical schemes have been replaced by "stylish" poetry that is "rather idiosyncratic." Experiences of violence are particularly common in the "stylish" poetry and fiction of Canada. A poet's family history does not always provide a good subject since "writing about your relatives is writing memoirs, it is private expression, not really poetry." Waddington spent a year editing poetry for Poetry Toronto and consequently developed "a lot of respect for people, for their courage and their determination." Teaching has helped her to keep in touch with people, enriching both her life and her poetry. Much of contemporary poetry fails because it is "pretentious and academic, and that sort of poetry is not in touch with itself."
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C99 Davies, Patricia. "Poet Believes in Pampering Her Dinner Guests." The Globe and Mail [Toronto], 12 Jan. 1983, Sec. SB, p. 14.
Waddington feels that "you have to bother, to make a good meal or to do a good piece of writing." Davies includes a description of the kinds of meals Waddington prepares for her friends, as well as some of her kitchen hints and two of her recipes--"Beef Curry" and "Fruit Chutney."
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C68 MacCulloch, Clare. "The Nineteen Thirties Are Over: The Canadian Face of Miriam Waddington's Poetry." M.A. Thesis Waterloo 1974.
Waddington's poetic development is concurrent with the development of contemporary Canadian poetry. Both fall into "four general periods of growth," which fit into the past four decades. Her first poetic phase was one of "personal poetry," in which she was strongly influenced by the poetic activity in Canada of the 1930s and 1940s. Next, she began to write in a more private vein, romanticizing her past. From this she moved into a phase MacCulloch calls "public poetry." Finally, she wrote in a manner in which she took her experience and her "seasoned vision" and created a "statement."
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- Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; A. M. Klein
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Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; A. M. Klein
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D147 Kayfetz, Ben G. "Books in Review." Jewish Standard, 15 Feb. 1971, pp. 6-7.
This descriptive review outlines the emphasis of Waddington's study: "the complex and varied cultural pattern that influences a Jewish writer in Canada," Klein's "'radical' period," and the "Joycean aspect" of Klein's language. Klein's "impact" as a lecturer at McGill need not be merely a matter of "conjecture." Waddington errs in associating Klein with the B'nai Brith Youth, rather than the "more ideological, Zionistoriented Canadian Young Judaea.... All in all, Mrs. Waddington has devoted her own poetic sensitivity and a great deal of solid scholarly research to this interesting, readable and valuable study."
D148 Vernon, Lorraine. "A. M. Klein, a Man in 3 Worlds." Leisure Magazine [The Vancouver Sun], 26 March 1971, p. 32A.
Waddington "has thoroughly researched her subject, but she has also put into the book-consciously or unconsciously--timelessness, humor, dignity, versatility, tenacity and a little sadness."
D149 Morley, Patricia. "Literature and Life: Humanist or Prophet?". The Ottawa Journal, 24 April 1971, p. 44.
This mainly descriptive review calls the book a "provocative study" and implicitly disagrees with Waddington's "general thesis" that "Klein is not religious at all but is simply a secular humanist."
D150 Barbour, Douglas. Rev. of Al Purdy, by George Bowering; Earle Birney, by Frank Davey; and A. M. Klein, by Miriam Waddington. The Canadian Forum, May 1972, p. 68.
Waddington's major contributions are her approach to Klein through his multiple languages, and her consequent critique of previous evaluations of Klein's work.
D151 Liptzin, Solomon. "Jewish Prose and Poetry." Rev. of The Jewish Experience in America, by Allen Guttmann; Family Chronicle, by Charles Reznikoff; A . M. Klein, by Miriam Waddington; and Abraham Sutzkever, Partisan Poet, by Joseph Leftwich. The Jewish Spectator [New York], 37, No. 6 (June 1972), 23-24, 26.
"Miriam Waddington's study attempts to analyze Klein's psychic configuration, his poetic diction and his fusion of Yiddish folk-material with English-American forms.... Waddington stresses Klein's religious skepticism" and sees his "leitmotif" as "justice." "She has insight into Klein's uniqueness because she, too, is a product of several cultures--Jewish, English and Canadian--and as a poet of sensitivity."
D152 Spettigue, D. G. (sic; O.). "Keep the Miracle Secular!". Canadian Literature, No. 53 (Summer 1972), pp. 107-09.
Waddington's thesis that Gentile critics, carelessly associating a Jew with Orthodoxy, ignore the secular tradition makes the second chapter, "The Radical Poems," the organizing centre of the book. The problem is that coming to the crucial matters of vocabulary and syntax, for which she is well qualified, Waddington has difficulty showing that Klein's language is more secular than religious. Spettigue devotes the bulk of his review to a critique of the closing chapter on The Second Scroll, which he finds a negative anti-climax to the book. Waddington, who deals well with language, has problems discussing fictional form; Spettigue suggests the "anatomy" as a model for understanding the structure of the "scroll."
D153 Wagner, Jeannie M. Rev. of Earle Birney, by Frank Davey; Al Purdy, by George Bowering; Margaret Avison, by Ernest Redekop; and A. M. Klein, by Miriam Waddington. Wascana Review, 8, No. 1 (Spring 1973), 65-67.
The book is an enlightening, stimulating study of Klein with its welcome emphasis on Klein's diction and language. The primarily descriptive review praises the discussion of Klein's ignored radical poems, but finds that Waddington's emphasis on Klein as secular Jew causes her to misinterpret some of the religious poems.
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- Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; Call Them Canadians: A Photographic Point of View
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D62 French, William. "A Family Album of Anonymous Faces." The Globe Magazine [The Globe and Mail] [Toronto], 31 Aug. 1968, p. 13.
Either evoking the seasons, or the feelings of people, Waddington's imagery adds an extra dimension to the book.
D63 Jeffares, A. Norman. "Poetic Deliberation." Rev. of The Glass Trumpet and Call Them Canadians: A Photographic Point of View. Journal of Commonwealth Literature, 6, No. 1 (June 1971), 137.
Waddington's talents of wit, invention, and powerful copia verborum match the photographs in Call Them Canadians: A Photographic Point of View well.
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Record: 430- Title:
- Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; Driving Home: Poems New and Selected
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- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Criticism & interpretation -- Bibliography
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D79 MacCulloch, Clare. "A Valentine for Miriam." Chevron [Univ. of Waterloo], 3 Nov. 1972, p. 17.
MacCulloch writes less of a review, than an emotional tribute to "one of our best poets." He includes two of his own untitled poems about Waddington.
D80 Nynych, Stephanie J. "At Home with the World." Rev. of Happy Enough, by George Johnston; and Driving Home: Poems New and Selected, by Miriam Waddington. Books in Canada, Nov.-Dec. 1972, pp. 10-11.
Driving Home: Poems New and Selected recreates a journey beginning in "ancestral heritage" and ending in "home," which for Waddington is Canada. The "child of immigrants" joins the "adult traveller" and "seeker" to "carve her own history" out of the "history of nations.... A delicate hue of nostalgia tinges many of the poems, as if life moves too quickly and the essence of everyday actions cannot be fully appreciated."
D81 Mountford, C. Rev. of Driving Home: Poems New and Selected. Quill & Quire, Dec. 1972, p. 8.
Waddington is one of our most able writers with a true lyric gift. "Advice to the Young" is an excellent celebration of a natural, harmonious relationship between man and environment.
D82 Oughton, John. "Driving Home by Waddington--Poetry Has Sense of Warmth and Whimsy." Excalibur [York Univ.], 7 Dec. 1972, p. 10.
Driving Home: Poems New and Selected is a good introduction to Waddington's poetry. She is concerned with roots, and her past contains more nostalgia and joy than are suggested by Margaret Atwood's arguments in Survival: A Thematic Guide to Canadian Literature. The poems are written with a deceptive air of ease; they are more satisfying as songs, than as single brilliant images.
D83 Helwig, David. "Poet's Voice Heard." Rev. of Selected Poems, by Ralph Gustafson; Driving Home: Poems New and Selected, by Miriam Waddington; and Happy Enough: Poems 1935-1972, by George Johnston. The Whig-Standard [Kingston], 9 Dec. 1972, p. 19.
Waddington's is "the language of conventional speech," which runs the danger of falling "into sentimentality or flatness," particularly in her "poems about social misfits.... The most successful...poems are some of the love poems and those that deal . . . with . . . childhood and family memories."
D84 Richmond, John. "Native Poems." Rev. of The Energy of Slaves, by Leonard Cohen; Purdy Selected, by Al Purdy; Lies, by John Newlove; and Driving Home: Poems New and Selected, by Miriam Waddington. The Montreal Star, 9 Dec. 1972, Sec. C, p. 5.
Waddington is a "multi-cultural" poet who is "superbly lyrical."
D85 Van Steen, Marcus. "Proof of a Fine Talent." The Citizen [Ottawa], 9 Dec. 1972, p. 43.
Waddington has a powerful intellect and employs wide and varied material. The lush intensity of her earlier work has yielded a simpler, more intellectual poetry.
D86 Gayn, Mark. "Sensitive and Beautiful Poetry from a Writer's Private World." The Toronto Star, 30 Dec. 1972, Sec. Entertainment, p. 59.
With extensive quotations, Gayn praises the sensitivity of Canada's most inward-looking poet. The themes of love, injustice, belonging, and place are emphasized.
D87 Estok, M. "All in the Family: The Metaphysics of Domesticity." Dalhousie Review, 52 (Winter 1972-73), 662-63.
The reviewer skims over the poetry to pay tribute to the poet who is "lovable, enduring--a permanent contour of the Canadian poetry scene." Estok likes her easy friendliness and sensibleness, and observes that the closer she gets to home, especially her Prairie origins, the better she is.
D88 Robinson, Ian. Rev. of Avebury, by Richard Burns; Debit and Credit, by Salvatore Quasimodo; Eirenikon, by Gavin Bantock; Earth Erect, by Vasco Popa; and Driving Home: Poems New and Selected, by Miriam Waddington. Oasis [London, Eng.], No. 9 [1973?], Reviews Supp., pp. 6-9.
The "language" of these poems "is unadventurous and their form often approaches that of the list." Waddington's poems "operate so consistently at one level (even often at the level of banality) that the parameters of the reader's enjoyment and involvement are likely to remain entirely fixed."
D89 Stevens, Peter. "Achievement--This Light-Filled Equilibrium." The Globe and Mail [Toronto], 27 Jan. 1973, p. 29.
This volume marks Waddington's move away from rootlessness to a new sense of the present. The volume documents a process of self-discovery in a language refined to a purity without losing its emotional content.
D90 Nodelman, Perry. "Development of a Poet." New Leisure Saturday Magazine [Winnipeg Free Press], 10 Feb. 1973, p. 20.
Waddington "has written more different kinds of poems than most poets do, and now she has organized them in such a way that they tell an interesting story. The older poems serve as an explanation of the meaning and style of the newer ones, and the new poems become an ironic comment on some of the excesses of the older ones."
D91 Edinborough, Arnold. Rev. of Driving Home: Poems New and Selected. CJRT Radio [Toronto], 26 Feb. 1973.
Waddington is more autobiographical and nostalgic than she has been before. Her poetry is rooted in domestic detail, and she is often an accomplished love poet.
D92 Mulhallen, Karen. Rev. of Driving Home: Poems New and Selected. The Canadian Forum, March 1973, pp. 48-49.
This volume shows two new directions that need to be considered in the critics' emphasis on Waddington's lyricism and personal revelation. First, she is a poet of place, and landscape is her lover. Second, as a poet of short line fragments, she shows a "certain breathlessness" that makes her voice unmistakable.
D93 Morley, Patricia. "The Best of Two Mature Canadian Poets." Rev. of Happy Enough: Poems 1935-1972, by George Johnston; and Driving Home: Poems New and Selected, by Miriam Waddington. The Ottawa Journal, 17 March 1973, p. 36.
Waddington's range of moods and emotions is found in a whimsical humour framing poetry which is not afraid to preach, in love poetry, and in passionately involved social poems.
D94 Wayman, Tom. "Miriam Waddington's New Talent." Canadian Literature, No. 56 (Spring 1973), pp. 85-89. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, Short Story Writers, Filmmakers, Scriptwriters, and Other Creative Writers. Ed. Jean C. Stine. Vol. XXVIII. Detroit: Gale, 1984, 437-38.
Most of the poems "are boring," but Wayman senses that Waddington may share his view, since the "direct style" of her "newer poems" is certainly her best. In the poems written out of her social work experiences, the "emotion is [too often] lost in the prison of rhyme." In both newer and older poems, Waddington tends to "leap" between subjects and completely lose the reader. In general, the "finest...poems" are "about love," especially the direct and open speaking of "her predicament[s]" which we find in the recent poems. The quality of the recent poems is so improved Wayman almost thinks of Waddington "as a new talent."
D95 Musgrave, Susan. "Humor Lightens Gloom." Victoria Times, 24 March 1973, p. 10.
Waddington is truly a Romantic poet, yet there is weary dissatisfaction in her current views. She has, perhaps, mistakenly excluded poems from this collection that should be there.
D96 Masters, Philinda. "Poetry of a Canadian Image." Rev. of Driving Home: Poems New and Selected, by Miriam Waddington; Lies, by John Newlove; and Happy Enough, by George Johnston. The Financial Post [Toronto], 28 April 1973, Sec. E, p. 7.
Using the image of snow as a focus, Masters finds Waddington "more consciously snowbound than Newlove or Johnston." The cold depth which gives her poems their power is most evident in the new poems. The earlier poetry tends to the trite and flowery; the best of it comes from her experiences as social worker. But social comment is a poetic dead end from which Waddington finds her artistic resolution by a return to the "snowblurred geography of her childhood."
D97 Bradley, Sam. Rev. of Dream Telescope and Driving Home: Poems New and Selected. Compass [Kutztown State College, Kutztown, Pa.], 4 (Summer 1973), 42-43.
No reference is made to Dream Telescope, although "Elijah" is quoted in full and appears in both Dream Telescope and Driving Home: Poems New and Selected. "At first careless glance, the poet seems to be writing capriciously, relying on magic thinking and private enthusiasms. Yet behind her writing is her adherence to the apocalyptic-mythic interpreters of literature who reject history."
D98 Hornyansky, Michael. "Letters in Canada: 1972. Poetry." University of Toronto Quarterly, 42 (Summer 1973), 374-75.
Hornyansky reconsiders his negative response to Say Yes (D74). He finds some "real poems," a "neat control," and a "vein of experiment in the cummings mode." Of the latter, the reviewer approvingly quotes "Sad Winter in the Land of Can Lit" as a criticism of the "straining poetasters."
D99 Baskin, Bernard. "Poetic 'Illerates' [sic] Missing Boat of Pleasure, Intellect." Rev. of The Dance Is One, by F. R. Scott; and Driving Home: Poems New and Selected, by Miriam Waddington. Canadian Jewish News, 22 June 1973, p. 14.
Waddington "is deeply Jewish in her laments and affirmations." The book "is an impressive and deeply felt statement."
D100 Levenson, Christopher. Rev. of Driving Home: Poems New and Selected, by Miriam Waddington; and The Energy of Slaves, by Leonard Cohen. Queen's Quarterly, 80 (Autumn 1973), 470.
Waddington's earlier poems are "more literary and rhetorical," but her later work, although still very personal, with its "stronger sense of cadence" and tauter use of line-breaks, shows a "far clearer sense of direction and structure. Her best poems forsake a tendency to hyperbole and yea-saying to concentrate on a particular scene."
D101 Potts, Maureen. Rev. of Driving Home: Poems New and Selected. World Literature Written in English, 12 (Nov. 1973), 243-46.
Despite allusions to Waddington's movement away from lyric, her range of emotion, and her sometime triteness, the review is essentially a list of themes. Potts notes a never-ending search for identity: in Jewish-Russian ancestry, in social work, in Canada and its landscape, in poetry, in love, and in aging.
D102 Jacobs, A. C. Rev. of Notes for a Survivor, by Emanuel Litvinoff; Fringe of Fire, by Samuel Menashe; The Celebrants and Other Poems, by Elaine Feinstein; and Driving Home: Poems New and Selected, by Miriam Waddington. European Judaism [London, Eng.], 8, No. 1 (Winter 1973-74), 53.
One paragraph at the end of a review of four books, uses the "snowy Canadian landscape" as a metaphor to describe Waddington's poetry. Waddington "never quite finds" an "identity" in the landscape. Her poems "flow," but they have a disconcerting "chilliness." "Skill there is, but her poetry could perhaps do with a bigger helping of Yiddish knottiness and warmth."
D103 Almon, Bert. "Triumphs of the Sun: 3 Seasoned Poets." Rev. of Driving Home: Poems New and Selected, by Miriam Waddington; Collected Poems: The Two Seasons, by Dorothy Livesay; and Selected Poems 1954-1965, by Phyllis Webb. New: American and Canadian Poetry [Trumansburg, N.Y.], No. 24 (Fall 1974), p. 107.
Waddington wrote some fine poems about social derelicts, but her language is most intense when love is the subject. The earlier poems are generally superior to the rather ordinary diction and imagery of the new poems.
D104 MacCulloch, Clare. "'To Be the Landscape.'" The Fiddlehead, No. 103 (Fall 1974), pp. 96-101.
A. M. Klein's concept of the "poet as landscape" is one of the central themes of Waddington's poetry. Before focusing on "her particular detail of the picture," we must "look at the larger mural of our poetic landscape." Although she is one of Canada's five most important poets, she is often "given only perfunctory attention." Driving Home: Poems New and Selected represents Waddington's strength as an editor of her own work and reveals her artistic and personal growth. In some ways, her poetic development reflects the development of Canadian poetry over the last forty years. Waddington draws upon the history of Canada and other nations in her creation of a centre "from which to perceive outwardly and inwardly the attainment of a sense of identity, of fusion."
D105 Hobsbaum, Hannah. Rev. of This World Is Mine, by William McDermott; and Driving Home: Poems New and Selected, by Miriam Waddington. Outposts [Walton-on-Thames, Surrey], No. 105 (Summer 1975), pp. 35-36.
Waddington is something of an "isolated" poet, in the sense that the "rhythms of the verse technique...show that these poems have not been subjected to other good critical and poetic minds." Her "poems are a curious mixture: sententious academic feeling from behind which emerges the poetic voice."
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Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; Green World
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D1 E., H. R. "Poetic Miscellany." Rev. of True Harvest, by Arthur S. Bourinot; Green World, by Miriam Waddington; and Moths after Midnight, by Vere Jameson. Canadian Author & Bookman, 22, No. 1 (March 1946), 17.
A one-paragraph notice emphasizes Waddington's emotional dimension and singles out the sympathy expressed in "The Bond" for special praise.
D2 Thoms, Roy. Rev. of Green World. Culture, 7 (March 1946), 103.
Waddington's reproductions of nature are better than the verses depicting scenes she encountered as a social worker. The collection is wellworth reading.
D3 Marven, Ralph. Rev. of Green World. Books for the Times. CBC Radio, 5 March 1946.
Waddington's sense of injustice is best revealed in straightforward fashion. Her revolt against convention (eg., ignoring capitals and commas) is too mannered. She has an observant and sensitive eye, but is sometimes given to excessive use of adjectives.
D4 Brown, E. K. "Letters in Canada: 1945. Poetry." University of Toronto Quarterly, 15 (April 1946), 275-76.
"The two dozen short poems in Mrs. Miriam Waddington's Green World...express her revulsion from the social structure of her time, her pain in personal relationships, and even a dark view of natural beauty."
D5 C[rawley]., A[lan]. Rev. of Now is Time, by Earle Birney; Green World, by Miriam Waddington; and When We Are Young, by Raymond Souster. Contemporary Verse, No. 17 (April 1946), pp. 18-19.
Much of the charm of Waddington's writing comes from the skilful recording of visual beauty and from her sensitivity to the loveliness of language. Crawley notes her compassion, and the unusual poems of psychological content, but prefers the "intimate glimpses" in "Investigator" and "Morning Until Night."
D6 Smith, Ray. "Poets Betrayed by Didacticism." Rev. of Green World, by Miriam Waddington; and Ho! Watchman of the Night Ho!, by Lee ver Duft. Poetry [Chicago], 68 (June 1946), 168-70.
Waddington's pleasant verse "seldom soars." It is "derivative rather than intrinsic." The social poems are marred by "rather mechanical indignation," as if the poet has not yet unified idea and emotion.
D7 C., G. H. "Recent Canadian Poetry." Queen's Quarterly, 53 (Summer 1946), 267.
Waddington "writes with some emotional power," and most of her poems are written in free verse. The poems often reveal "a provocative, maternal sympathy for the unfortunate."
D8 Frye, Northrop. "Canadian Poetry." The Canadian Forum, Sept. 1946, pp. 141-42.
Waddington has a "lyrical gift of great beauty and subtlety, and her work has a uniform level of excellence both in technique and expressive power." Many of the poems in Green World focus on the contrast between the worlds of innocence and experience. The world of innocence is frequently associated with the colour green and with the past, while the world of experience is represented by the city and by the present. Frye also notes that Waddington's use of the image of the "green world" is similar to that of Andrew Marvell.
D9 R[ead]., S[tanley]. E. Rev. of Green World. Canadian Poetry Magazine, 11, No. 2 (Dec. 1947), 44.
The best of Waddington's poetry reflects her professional life as social worker. Her poems show technical variety, willingness to experiment, rich vocabulary, and daring metaphor. The delicacy of her perception is occasionally marred by disregard of helpful punctuation.
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- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Criticism & interpretation -- Bibliography
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Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 342-384)
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Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; John Sutherland: Essays, Controversies and Poems
Ricou, Laurie (compiler)
D154 Fulford, Robert. "Tribute to a Man's Fight for a Literary Culture in Canada's Stony Soil." The Toronto Star, 10 March 1973, Sec. Sports, p. 65.
Waddington seems to catch some of the spirit of the period in her useful Introduction.
D155 Long, Tanya. Rev. of John Sutherland: Essays, Controversies and Poems. Quill & Quire, June 1973, p. 14.
Waddington's Introduction provides a sense of the context out of which Sutherland's writing comes and of its importance in the Canadian literary tradition.
D156 Morley, Patricia. "The Still Centre." Canadian Literature, No. 60 (Spring 1974), pp. 103-05.
Morley finds the Introduction "lively" and the selection "interesting," particularly the inclusion of Sutherland's poems. She feels it is unfortunate, however, not to have included "more criticism from the last few years of Sutherland's life to illustrate his change from a Marxist to a Christian stance."
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- Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; Mister Never
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Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; Mister Never
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D127 Aubert, Rosemary. Rev. of Mister Never. Quill & Quire, Aug. 1978, pp. 39-40.
The subject of this delicate set of poems is "Mister Never," a projection of the self and a creature of speculation and longing: "the elusive all-perfect mate, the always escaping man of a woman's dreams." The poems are "rich in imagery" and "varied in locale"; they make effective symbolic use of the seasons in an overall tone of muted frustration.
D128 Nodelman, Perry. "In Poetry, Don't Judge by Brand-Names." Rev. of Soviet Poems, by Ralph Gustafson; Mister Never, by Miriam Waddington; and Rehearsal for Dancers, by Craig Powell. Leisure Magazine [Winnipeg Free Press], 26 Aug. 1978, p. 6.
This is a "minimal book": "Waddington has done all this before...and better." The representation of all the poet's yearnings in the character of Mister Never is "clever and...frequently witty." The poems are surprisingly "beautiful," given "their ironic intentions." But the book is essentially thin and repetitive.
D129 Bartlett, Brian. "We Dipped and We Flipped." Rev. of Private Parts, by John Robert Colombo; The Works: Collected Poems, by Phyllis Gotlieb; and Mister Never, by Miriam Waddington. Books in Canada, Oct. 1978, p. 16.
Compared to Driving Home: Poems New and Selected, this book is "thin gruel," "excessively dreamy" and cloying. The best poems are the shortest, but "softness" characteristically "infects many of the other poems."
D130 Fowler, Mary. Rev. of Mister Never. Canadian Book Review Annual: 1978. Ed. Linda Biesenthal, Dean Tudor, and Nancy Tudor. Toronto: Peter Martin, 1979, pp. 112-13.
"The sardonic tone is everywhere in this collection. It is not a malicious mocking; rather it is a setting forth of that bridgeless expanse that exists between the ideal that only exists in the mind and the real that never measures up."
D131 Vanstone, Gail. Rev. of Mister Never. Canadian Women's Studies/Les cahiers de la femmes [Centennial College], 1, No. 3 (Spring/printemps 1979), 109.
The book's central subject is "the absence of departed love." Waddington "challenges" the "male-dominated ideology, which directs our society" by writing "from her own emotional experience," and "freely" declaring "herself a passionate woman."
D132 MacMillan, Carrie. Rev. of Mister Never. The Fiddlehead, No. 126 (Summer 1980), p. 154.
MacMillan notes that the structure of the collection moves from captive fascination through the bleakness of rejection to recovery. "Waddington captures the aching yearning after the unattainable in evocative language of sound, colour, and touch."
D133 Smith, Patricia Keeney. "Hit and Miss." Rev. of At the Edge of the Chopping There Are No Secrets and Stilt Jack, by John Thompson; Soviet Poems, by Ralph Gustafson; and Mister Never, by Miriam Waddington. Canadian Literature, No. 85 (Summer 1980), pp. 139-40.
Waddington's imagery is "alternately superb and strained." She "can sing," but "...she often succumbs to the lure and trance of song, so that meaning gives way to sound." Waddington's "linestops...remain a mystery," and her "whimsy is also problematic." The reviewer concludes that the book is "uneven."
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Source: Ricou, Laurie (compiler); . Part 2: Works On Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 342-384 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP2.
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- Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; Say Yes and Dream Telescope
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- Part 2: Works On Miriam (Dworkin) Waddington: Selected book reviews
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D64 Weaver, Robert. "Entertainment with a Sombre Side." Toronto Daily Star, 20 Sept. 1969, Sec. Insight, p. 19.
The later poems are more sombre and often quite melancholy. The book includes too many poems of the same flavour, yet the poet is much better than she was in Green World.
D65 Callaghan, Barry. "'The Games of Childhood, the Labors of Love Lost, the Labors of a Labored Mind.'" Rev. of Ordinary Moving, by Phyllis Gotlieb; Say Yes, by Miriam Waddington; and John Toronto, by John Robert Colombo. The Telegram [Toronto], 11 Oct. 1969, Sec. 3, p. 5.
Waddington has always been "an underrated poet" who has "been tough with her own emotions." Yet here, although the poems are "finely written," she is "not challenging her emotion, but ruminating in the past, looking to make something that was once alive come alive again."
D66 Fetherling, Doug. "Creative Slims in Pentateuch--Canadian and Quality." Rev. of So Far, So Good, by Raymond Souster; John Toronto, by John Robert Colombo; Ordinary, Moving, by Phyllis Gotlieb; Say Yes, by Miriam Waddington; and The Army Does Not Go Away, by David Knight. The Globe Magazine [The Globe and Mail] [Toronto], 8 Nov. 1969, p. 27.
Fetherling describes Say Yes as "a labor of introverted, pensive, reflective tightness from which one concludes the poet is nervously eyeing everything and everyone, including the other poets."
D67 Van Steen, Marcus. "Talented Poet's Sombre Book." The Saturday Citizen [The Citizen] [Ottawa], 3 Jan. 1970, p. 27.
Waddington has narrowed her range: her preoccupation is personal, her tone negative, and her perspective backward-looking. The change is unfortunate because she is a poet of precise language and sense of rhythm.
D68 Pacey, Desmond. "A Canadian Quintet." Rev. of The Dark Is Not So Dark, by R. G. Everson; Ixion's Wheel, by Ralph Gustafson; Say Yes, by Miriam Waddington; Ordinary, Moving, by Phyllis Gotlieb; and The Sign of the Gunman, by David Helwig. The Fiddlehead, No. 83 (Jan.-Feb. 1970), pp. 81-83.
This collection is "disappointing" because Waddington's usual "compassionate honesty" is lost beneath "excess . . . ingenuity." The "short, choppy lines...destroy the...rhythms of speech or song and . . . impede meaning." Waddington's gift for the "liquidly lyrical" here becomes an obsession with "alliteration, assonance, and consonance." A few "deeply moving" poems remain, but the poet must renounce her "excessive artifice."
D69 Zitner, S. P. Rev. of Ixion's Wheel, by Ralph Gustafson; Say Yes, by Miriam Waddington; and The Welder's Ark, by Stuart Mackinnon. The Canadian Forum, March 1970, p. 299.
Waddington's "clarity" is especially praised, both as a quality by which "...language reveals experience of the self" and in the Elizabethan sense of a moral quality. The unusual effect of the poems is to "comfort the reader." Her structural units are not lines or stanzas, but "perceptions," and she describes an "intimacy too close for [literary] devices."
D70 Gellatly, Peter. Rev. of Ordinary, Moving, by Phyllis Gotlieb; and Say Yes, by Miriam Waddington. Library Journal, 15 March 1970, p. 1035.
Waddington writes in a straightforward fashion, using short lines and little punctuation. This results in a breakneck pace and an immediate sense of the poem's shape and meaning.
D71 Robinson, David. "Tried and True." The Tamarack Review, 54 (Second Quarter 1970), pp. 91-92.
"Miriam Waddington's Say Yes from Oxford [reveals] . . . insistence on fragility, on beauty, on all those things with which poetry has been associated for so long, with its totally unsubstantiated, thin, fine lines, with its oh-so-subtle image pattern, and its absolutely free calling on the whole of the literary tradition for support."
D72 McCarthy, Bryan. "Less Than Meets the Eye." The Montreal Star, 9 May 1970, p. 4.
A brief reference in a review of ten books notes that "Miriam Waddington stumbles into womanish 'airy fairy' lyricism...," only "somewhat redeemed" by the honesty of a few personal poems."
D73 Jones, D. G. "Voices in the Dark." Canadian Literature, No. 45 (Summer 1970), pp. 73-74. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, Short Story Writers, Filmmakers, Scriptwriters, and Other Creative Writers. Ed. Jean C. Stine. Vol. XXVIII. Detroit: Gale, 1984, 437.
Of six books reviewed, Say Yes, "whose language is closest to the conventional lyric," is the "freshest." Waddington confronts "the loss of love, of language, of a familiar world,...directly" and "honestly.... A rather baroque, run-on form made up of lines from two to four feet," which may derive from William Carlos Williams, is the vehicle for her "delicate and haunting" illuminations.
D74 Hornyansky, Michael. "Letters in Canada: 1969. Poetry." University of Toronto Quarterly, 39 (July 1970), 329.
This brief review dismisses Waddington's "breathless effusions" and implies that she might be better to stop writing.
D75 Seaburg, Alan. Rev. of Say Yes. Snowy Egret [Williamsburg, Ken.], 33, No. 2 (Autumn 1970), 6-7.
This review praises Waddington's images and personal themes, and quotes "Ukrainian Church" to illustrate her strengths.
D76 Reeve, F. D. "Faces at the Bottom." Rev. of Face at the Bottom of the World, by Hagiwara Sakutaro; Running Lucky, by R. P. Dickey; Say Yes, by Miriam Waddington; and Ruining the New Road, by William Mathews. Poetry [Chicago], 118 (July 1971), 237.
Some of Waddington's poems build "neither to climax nor to complaint but to a finale that seems halfway between a bad imitation of Gertrude Stein and a bad imitation of A. A. Milne." She writes for the sake of images, which may have biographical immediacy, but are "neither classically pure nor modernistically precise. Responding to the frayed fringes of the everyday world with sprightly charm and a little girl's imaginativeness, she is the more engaging the more personal she is."
D77 Bischoff, Bernard. "Waddington Evokes a 'Maybe.'" The Ubyssey [Univ. of British Columbia], 21 Sept. 1971, p. 6.
Waddington's reputation rests largely on her love poems, but these frenzied outpourings leave Bishoff unmoved. Perhaps she would be better writing lyrics for Glen Campbell. Yet the reviewer finds poems with "real nerves of feeling" and a number of startling images. Waddington is at her best as a "collector of intricate, fragile images, splintered still-lifes of shattered people and worlds."
D78 "Twelve Poets." British Book News [London, Eng.], Feb. 1973, pp. 114-15.
Waddington is "best at irony, domestic ('Eavesdropping') and political ('Elijah')."
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Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; Summer at Loney Beach and Other Stories
Ricou, Laurie (compiler)
D143 Adachi, Ken. "The Short Story: Test for a Writer." Rev. of Summer at Lonely Beach and Other Stories, by Miriam Waddington; and Returning Tales, by Edna O'Brien. The Toronto Star, 24 July 1982, p. E12.
After considering the difficulty involved in the writing of successful short stories, Adachi finds this collection "banal and portentous," marred by "determined lyricism." It is unfortunate that the stories are overwritten, since their themes are explored with energy and enthusiasm.
D144 Black, Naomi. "For Canadians, a Kind of Writing That Moves Their Memories on to the Map of World Literature." The Globe and Mail [Toronto], 21 Aug. 1982, p. 13.
The book's appeal lies in the way it evokes "familiar, emotionally significant places." Waddington fulfils the need for concrete detail that realistic fiction requires, but the stories lack plots or resolutions. Her characters are "too poetic and generalized to become individualized, they are too familiar to be symbolic."
D145 Martens, Debra. Rev. of Summer at Lonely Beach and Other Stories. Quarry, 32, No. 1 (Winter 1983), 67-69.
"The stories all have a similar tone of sadness." Waddington's "perceptiveness" and "skillful imagery" are enjoyable. Although many of the stories are moving, the most "potentially powerful" are "flawed" in construction or characterization.
D146 Brooks, Andrew. "Forms, Points, Details." Rev. of Selected Poems of Christina Logan, by Christina Logan; Tarts and Muggers: Poems New and Selected, by Susan Musgrave; and Summer at Lonely Beach and Other Stories, by Miriam Waddington. Canadian Literature, No. 98 (Autumn 1983), pp. 64-65.
Brooks questions the "boundary between fiction as fiction and memoir as memoir," but notes that Waddington "achieves a sense of realism not only through the skilful etching of detail but also through an acute feel for situation." A balance of character and situation produces "great and telling moments." Two of the stories "are less convincing, more self-consciously conventional. Here Waddington tends to telegraph her themes, allowing them less freedom to surface naturally through the subtle play of situation and relationship...." There are flaws in this first book of short stories, but "most do little harm...."
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Source: Ricou, Laurie (compiler); . Part 2: Works On Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 342-384 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP2.
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- Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; The Collected Poems of A. M. Klien
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Titles critiqued: COLLECTED poems of A. M. Klien (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
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Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; The Collected Poems of A. M. Klien
Ricou, Laurie (compiler)
D157 Warkentin, Germaine. "Book Reviews: Poetry." Quill & Quire, Oct. 1974, p. 24.
Waddington has collected and arranged in a sensible, roughly chronological order all of the verse Klein printed. It would have been helpful to know place and date of publication for poems uncollected, and Lewisohn's Foreword to Hath Not a Jew might have been deleted in favour of Klein's prose poem, "On First Seeing the Ceiling of the Sistine Chapel."
D158 Lewis, David. "Oscillations of Integrity." Books in Canada, Nov. 1974, p. 20.
Waddington has done a great service in producing this volume. In a personal reminiscence, Lewis adds to Waddington's emphasis on love of language in A. M. Klein the observation that Klein read dictionaries as avidly as he read literature.
D159 Watt, F. W. "Fruits of Stifled Genius." The Canadian Forum, Nov.-Dec. 1974, p. 18.
Watt makes little reference to Waddington's contribution except to suggest that she leaves the reader uncertain about the contents of the unpublished poetry and the perspective it might provide on Klein.
D160 Marshall, Tom. "Klein's Poet Surfacing." Canadian Literature, No. 63 (Winter 1975), pp. 81-85.
Before providing an overview of Klein's poetry Marshall makes a brief comment on Waddington's editing. Although students of Canadian poetry must be grateful for the book, the omission of unpublished poems is regrettable. Marshall agrees with placing the "radical poems" in a distinct group, but he feels the chronology is distorted and may give a misleading impression of Klein's development.
D161 McMullen, Lorraine. Rev. of The Collected Poems of A. M. Klein. Revue de l'Universite d'Ottawa, 45 (jan.-mars 1975), 128-30.
McMullen makes little reference to Waddington's contribution, except to question the decision, in the case of textual alterations, to print the first published version.
D162 Steinberg, M. W. Rev. of The Collected Poems of A. M. Klein. Queen's Quarterly, 82 (Spring 1975), 648-49.
Steinberg commends Waddington for making the published poems available so promptly, but he regrets the many ways in which the collection falls short of a scholarly edition. The bulk of the review is given to criticizing in detail the editing: the chronology is misleading; the grouping of "Radical Poems" is artificial; titling and indexing is inconsistent; there are many textual errors; and the biographical note ignores Klein's Zionism. In general, Waddington should have made more careful use of the Klein papers.
D163 Edel, Leon. "Mirrorings of A. M. Klein." The Tamarack Review, No. 66 (June 1975), pp. 94-98.
In a personal memoir and appreciation, Edel makes little reference to Waddington's editing. Waddington has brought to her task her judgements as poet and the discreet critical spirit revealed in her book on Klein. Edel notes the need for a different chronology, but concludes that for the present no other datings are possible.
D164 Still, Robert. Rev. of The Collected Poems of A. M. Klein. Canadian Poetry: Studies, Documents, Reviews, No. 1 (Fall-Winter 1977), pp. 91-92.
At the end of his review, Still mentions difficulties with determining chronology, several typographical errors, and some carelessnesses as evidence that Waddington's edition does not do justice to a poet of Klein's stature.
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Source: Ricou, Laurie (compiler); . Part 2: Works On Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 342-384 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP2.
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Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; The Glass Trumpet
Ricou, Laurie (compiler)
D34 Simmonds, Blake. "The Glass Trumpet." Protem [York Univ.], 30 Sept. 1966, p. 6.
Waddington is always recreating an aspect of her experience of the world. She does not engage in pyrotechnic displays, but creates feelings which everyone experiences.
D35 Phillips, Joan. "The Glass Trumpet--Poems Ring Out with a Clear, Pure Sound." The St. Catharines Standard, 15 Oct. 1966, p. 22.
Waddington's work is grounded in reality; her writing is original and sure.
D36 Murray, Joan. "Waddington's Simple Personal Diary." The Varsity [Univ. of Toronto], 14 Oct. 1966, p. 11.
"She has developed her own idiom, simple, personal, and nowhere reticent, out of such diverse sources as cummings, the great god Dylan, and perhaps, Elinor Wylie."
D37 Fulford, Robert. "Toronto, Rich Cold City." Toronto Daily Star, 20 Oct. 1966, Sec. World News, p. 23.
Waddington's poems always directly reflect her life. She is not wildly impressive, but she writes simple poems about love and loss, death and anxiety, about growing and becoming, about enduring life.
D38 Marriott, Anne. "The Glass Trumpet Blows Complex Tune." Leisure Magazine [The Vancouver Sun], 21 Oct. 1966, p. 25A.
Waddington describes a much more complex Canada than the old poets. The relation between apparent and actual is a central theme.
D39 Bates, Ronald. "Predicts a Good Season for Poetry." Rev. of Selected Poems, by F. R. Scott; and The Glass Trumpet, by Miriam Waddington. The London Free Press, 29 Oct. 1966, Sec. 2, p. 4-M.
Waddington's "real power is her lyric examination of the curious penetration of words and things, language and emotion and the cityscape so many of us live in."
D40 L[ane]., G[eoffrey]. H. "Prairie Poetess." Sarnia Observer, 29 Oct. 1966, p. 14.
"A trilogy on Things of the World, Carnival and The Field of Night, the collection reveals a high degree of human insight and a choice turn of phrase."
D41 Aiken, Don. "Winnipeg-Born Waddington Offers Mixture of Poetry." The Tribune Showcase [The Winnipeg Tribune], 19 Nov. 1966, p. 6.
In a book unified by the "theme of lostness," some poems are "clear" and "simple," but others are too "obscure."
D42 Duncan, Chester. "Free from Affectation." Leisure Magazine [Winnipeg Free Press], 26 Nov. 1966, p. 7.
The fresh, assured, and musical poetry proves that Waddington is Canada's best woman poet.
D43 Heller, Zelda. "Canadian Poetry." Rev. of The Glass Trumpet, by Miriam Waddington; and Home Free, by George Johnston. The Gazette [Montreal], 3 Dec. 1966, Sec. Two, p. 23.
Although Waddington turns her quest inward, seeking an understanding of the relationships between real and unreal, she is more successful in some of her less serious poems.
D44 Livesay, Dorothy. Rev. of The Glass Trumpet, by Miriam Waddington; and Home Free, by George Johnston. The Fiddlehead, No. 71 (Winter 1967), pp. 65-67, 69.
Waddington's characteristic strengths--sensitivity and perception--are found particularly in poems describing the search for an identity and voice. The reader hears echos of Dylan Thomas, T. S. Eliot, the Elizabethans, and Henrich Heine, but the best poetry "brings the past into immediacy, through the device of emblem." When Waddington moves from honest nostalgia to surrealistic or abstractly "spiritual" levels of perception, there is a sense of unease. The Glass Trumpet shows advances in the use of rhythm, metre, assonance, and rhyme, but sometimes the technical devices take over the poem and eliminate rather than evoke feeling.
D45 MacCallum, Hugh. "Myth, Wit and Pop in Poems." The Globe Magazine [The Globe and Mail] [Toronto], 7 Jan. 1967, p. 13.
Like Ralph Gustafson, Waddington works with "highly romantic themes." This book blends passion and charm, and it reflects her "quest for roots and a sense of identity."
D46 Marshall, Tom. Rev. of The Glass Trumpet. Quarry, 16, No. 3 (March 1967), 45.
Waddington's graceful and finely controlled lyrics express a vision of abiding innocence and love. Although her range is thus limited, Waddington, because she is honest about her limitations, does not drift into sentimentality.
D47 Motz, Bill. Rev. of Sift in an Hourglass, by Ralph Gustafson; The Glass Trumpet, by Miriam Waddington; Silverthorn, by Robert Finch; and Home Free, by George Johnston. Kitchener-Waterloo Record, 18 March 1967, p. 8.
Waddington's "inner vision" is typical of those many women poets "who dwell in...the spiritual and abstract side of things."
D48 Cogswell, Fred. Rev. of The Glass Trumpet, by Miriam Waddington; and Home Free, by George Johnston. Canadian Author & Bookman, 42, No. 3 (Spring 1967), 20.
Waddington does not have a sufficiently strong poetic vision to overcome the reviewer's own bias against the attitude conveyed in the poetry--a "masochistic pleasure in complaining."
D49 Fiamengo, Marya. "The Goldeye Swim." Canadian Literature, No. 32 (Spring 1967), pp. 64-66, 68.
The opening poem, "Things of the World," is a "microcosm of...Waddington's major themes": nature's innocence, the "power of the creative imagination," the encounter with urban reality, "pain," and "suffering." But the poem does not include the subject which gives this book its distinctive quality--"passionate" love "as a liberating and redemptive force in human affairs." Waddington's greatest strength is the "purely lyrical sensibility." Only very occasionally does its "controlled intensity . . . drop into a low-keyed discursiveness."
D50 Francis, Wynne. "Five Poets." Rev. of The Glass Trumpet, by Miriam Waddington; New Wings for Icarus, by Henry Beissel; Selected Poems, by F. R. Scott; Periods of the Moon, by Irving Layton; and Parasites of Heaven, by Leonard Cohen. The Tamarack Review, No. 43 (Spring 1967), pp. 78-80.
An appreciative summary of Waddington's main themes, organized by images of organic growth. "The book reviews a childhood innocent and joyful, a girlhood of love and disillusion, a maturity of grief, wisdom, and a brave rediscovery of self."
D51 Fefferman, Stan. "Poets of York." Rev. of Points in a Journey, by Keith Harrison; The House, by Michael Collie; Abracadabra, by John Robert Colombo; and The Glass Trumpet, by Miriam Waddington. The Telegram [Toronto], 8 April 1967, p. 26.
Waddington "writes about herself honestly" in "a full, rich book."
D52 Van Steen, Marcus. "Strong, Sensitive Poems of Reality Project Self-Pity, Accept Calm Joys." The Saturday Citizen [The Citizen] [Ottawa], 29 April 1967, p. 32.
The reader is invited to share the inner vision of a strong, sensitive artist. These are mainly sad poems of a world seen through the eyes and the quickened senses of an intelligent, sensitive, but essentially unemotional woman.
D53 Ferguson, Audrey. Rev. of The Glass Trumpet. The Social Worker, 35 (May 1967), 86-88.
The review emphasizes Waddington's realism by tracing her social work background through her poetry. Waddington is "the only professional social worker in Canada who writes poetry based on her vocation."
D54 C., W. "Slim, but Wholesome." Executive [Don Mills, Ont.], June 1967, p. 69.
Waddington's romantic sensuality "penetrates." The poetry is totally Canadian; reading it demands full attention.
D55 Pearson, Alan. Rev. of The Glass Trumpet. The Canadian Forum, June 1967, pp. 68-69.
Some of Waddington's love poems reveal "her vigorous retention of perceptiveness." Much of her poetry is rooted in her Jewish background, and this background emerges not only in the material of her work, but in its "sensuousness." While her various stylistic talents ensure that the reader remains interested, the "poetic texture is occasionally baffling."
D56 Talbot, Norman. "Object of Envy: Newer Canadian Poetry." Poetry Australia [Sydney], [Canadian Issue], No. 16 (June 1967), p. 53.
Talbot briefly notes Waddington's "close recreative memories" and suggests that the best poems are the "miraculous ones."
D57 MacCallum, H. "Letters in Canada: 1966. Poetry." University of Toronto Quarterly, 36 (July 1967), 372-73.
Waddington is a poet of moods, and the dominant mood of this volume is "aspiration mingled with pain and loss.... Images of delicate fancy and charm" combine with exuberance. "She delights in images which melt into other images, in arabesques of meditation, and in crescendoes of adjectives." The poems excite, but do not always satisfy because they "lack structure and cumulativc power."
D58 Sommer, Richard. "New Poetry: A Review." Rev. of The Dumbfounding, by Margaret Avison; The Danish Portraits, by Heather Spears; and The Glass Trumpet, by Miriam Waddington. Canadian Dimension, 4, No. 6 (Sept.-Oct. 1967), 41-42.
Waddington "has insufficient respect for the fidelity of words to the actualities of experience." As examples of the poet's "insensitivities," Sommer quotes several "unconscionable travesties." A few poems, particularly "Night on Skid Row" and "A Man Is Walking," show that Waddington "is capable of better things."
D59 Rev. of The Glass Trumpet. Choice, Jan. 1968, p. 1247.
Waddington's craft is hurried, and her sentiments are compromising in their banality. The overall effect is excess.
D60 Bell, Marvin. "Nine Canadian Poets." Poetry [Chicago], 111 (Feb. 1968), 326-27. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, Short Story Writers, Filmmakers, Scriptwriters, and Other Creative Writers. Ed. Jean C. Stine. Vol. XXVIII. Detroit: Gale, 1984, 437.
Waddington is willing to abandon care entirely to avoid writing "prose"; the result is run-on syntax and sentimental attitudes. She fails to exploit her best metaphors and abandons them for abstraction when she is led to significant thought. There is "talented urgency" in her language, best demonstrated in poems from the harshest attitudes.
D61 Jeffares, A. Norman. "Poetic Deliberation." Rev. of The Glass Trumpet and Call Them Canadians: A Photographic Point of View. Journal of Commonwealth Literature, 6, No. 1 (June 1971), 137-38.
Jeffares prefers the poems that are orthodoxly set and punctuated. The poetry in The Glass Trumpet is based on wide reading and a capacity to match emotions with words in a cohesive form.
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- Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; The Price of Gold
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Titles critiqued: PRICE of gold (Book)
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Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 342-384)
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Source: Part 2: Works On Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 342-384
Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; The Price of Gold
Ricou, Laurie (compiler)
D106 MacSkimming, Roy. "New Poetry Ranges from Sweet to Bitter." The Toronto Star, 26 June 1976, p. 117.
"...Waddington has a slight weakness for a certain school girl lyricism, a mooning melancholy winsomeness that risks becoming saccharine." But, more often, the poems "are pure, hard and incandescent as gold itself, whose price is remembrance and pain--pain that Waddington commemorates with both gravity and humor, in what is surely one of the most moving collections published in recent years."
D107 Bartlett, Brian. "Still Worth Mining--Waddington's Latest Poems Not Purest 'Gold.'" The Gazette [Montreal], 7 Aug. 1976, Sec. Lively Arts, p. 37.
In comparison to the eloquent meditations and singing rhythms of Driving Home: Poems New and Selected, this book is a disappointment. It is marred by over-explicitness or an easy, blurred simplicity. Of the dozen first-rate poems, those of lost love stand out. On this subject Waddington does not have the raw intelligence of Margaret Atwood, but her sensibility is more recognizably human.
D108 Colombo, John Robert. "Waddington Writes the Way Cranston Skates--With Skilled Abandon." The Globe and Mail [Toronto], 4 Sept. 1976, p. 33.
In an "authentic cycle of poems," the reader is "on an intimate footing with" the author's craft and human perspective. The "personality of the poet, unpretentious" and clear, is central. Even the poems of death are "full of wonder." Everywhere, but especially in her poems of Canada, is an attractive "lightness of touch and playfulness of spirit."
D109 Van Steen, Marcus. "Poet at Terms with Existence." The Saturday Citizen [The Citizen] [Ottawa], 4 Sept. 1976, Sec. The Arts, p. 29.
Van Steen outlines the book's major themes. "These are warm and simple poems, and in her clear, lyrical language the emotions are easily accessible to every reader." Van Steen singles out "The Dead" and "By the Sea" as evidence of Waddington "at the peak of her considerable talents."
D110 Gatenby, Greg. Rev. of The Price of Gold. Q & Q update, 9 Sept. 1976, p. 13.
The "poems are mediocre in sentiment, and as predictable as income tax in their imagery and lack of solid conclusion.... Because a well-known writer" wrote this, "it is presumed to have depth where only shallowness exists, merit where only the maudlin awaits."
D111 Morley, Patricia. "Talking to All of Us . . . Yet a Word for the Women." The Ottawa Journal, II Sept. 1976, p. 44.
This seasoned collection by a mature poet contains a special emphasis on places. Waddington uses the recurring metaphor of experiences as water in the first section, "Rivers." "Living Canadian" is a more urban and humorous section. "The Cave" explores death, despair, and loss.
D112 Fletcher, Peggy. Rev. of The Price of Gold. Canadian Author & Bookman, 52, No. 1 (Fall 1976), 26.
Ordinary day-to-day events shine with a new clarity through the perceptive eyes of Miriam Waddington. Her style is deceptively simple, and her "emotional tone sincere and honest."
D113 "Prof. Waddington's Latest Book Goes into Second Printing." York Gazette [York Univ.], 9 Nov. 1976, p. 57.
"As a collection of poetry written during the last four years, The Price of Gold lacks a strong thematic approach, she [Waddington] said, but explained the title of the book has meaning. 'It's really about values but few people have seen it.'"
D114 Long, Tanya. Rev. of The Price of Gold. Canadian Book Review Annual: 1976. Ed. Linda Biesenthal, Dean Tudor, and Nancy Tudor. Toronto: Peter Martin, 1977, pp. 112-13.
"The collection as a whole is characterized by that exquisitely moving poem, 'Someone Who Used to Have Someone,' whose effectiveness depends largely on the simple device of rhythmic and verbal repetition."
D115 Rev. of The Price of Gold. Choice, Jan. 1977, p. 1440.
Waddington "uses the contemporary idiom without losing her fastidious sense for the right word." Her world has a shimmer to it. "On the theme of women's liberation, her comments are low-keyed and highly effective."
D116 Murphy, Rae. "Poetry in Terms of People." Last Post [Toronto], 6, No. 1 (March 1977), 44.
Waddington is "one of the best things Can Lit has going for it." She writes to an audience of non-poets, sometimes cloyingly, but usually in convincing human terms. She can laugh with herself and even enjoy her bitterness. The crisp, sharp images and lean, precise style are incomparably better than much of her earlier work.
D117 Lever, Bernice. Rev. of The Price of Gold. Waves, 5, Nos. 2-3 (Spring 1977), 122-23.
Waddington is "a joyful sculptor of words," able to reward "her readers with fresh images." Because of the emphasis on song, the poems "are never harsh to one's ear or sensibilities.... The little concrete, mundane things of everyday life...cause a memory flood" and a sense of change. "Her humour and optimism in the face of life's problems make her particularly attractive."
D118 Livesay Dorothy. "Gazing into the Clouds of Whimsy." CV/II, 3, No. 1 (Spring 1977), 15.
The scene of these poems is less precise than in Waddington's earlier work, and "the music more definitely derived from folk song and nursery rhyme." The choppiness of the short line seems to serve no purpose. Although too many of the poems "use childlike fantasies and oversimplified rhythms," there are "a dozen finely wrought poems" (especially the title poem) which make good use of short lines and hidden rhymes. Waddington must avoid the temptation of women poets "to gaze into the clouds of whimsy."
D119 Watt, F. W. "Games for Grown-Ups." The Canadian Forum, May 1977, pp. 40-41.
Watt's review suggests some valuable approaches to the rhythms of Waddington's verse. He begins with the poet's "awkward honesty and directness" and emphasizes the note of pain in this volume. If Waddington emphasizes truth-telling over the game-playing side of poetry, "The Cave" is a beautiful example of the two intricately joined.
D120 Motion, Andrew. "The Overthrow of Order." Rev. of Our Ship, by John Mole; Away, by Robert Creeley; The Price of Gold, by Miriam Waddington; Milesian Fables, by Alexis Lykiard; and Between Flights, by Robin Fulton. The Times Literary Supplement [London], 20 May 1977, p. 617.
Waddington's attempts to "reflect the accent of her country" are "drowned in whimsy." Her delicacy of perception has "too palpable a design" on the reader "to avoid sounding absurd," except in the few, cases where she finds a subject about which she can be more than sentimental.
D121 Barbour, Douglas. "Poetry Chronicle IV." Dalhousie Review, 57 (Summer 1977), 363.
Waddington's "earned simplicity" makes this "an eminently readable book full of wisdom." The "Living Canadian" section is marked by "forced comedy and a slightly officious didacticism." The final section, "The Cave," where the "compassionate imagination confronts death head on," is the best in the book.
D122 Hornyansky, Michael. "Letters in Canada: 1976. Poetry." University of Toronto Quarterly, 46 (Summer 1977), 367.
A one-sentence notice of a "pleasantly hectic wit [which] gleams through the shards and slim columns of verse."
D123 Levenson, Christopher. Rev. of The Price of Gold. Quarry, 26, No. 4 (Autumn 1977), 77-80.
Waddington's is "essentially a poetry of statement, exclaiming and affirming." Her strengths and weaknesses derive from her "will to simplicity.... A superb control over pause and cadence . . . enables her to retain a colloquial manner and syntax," while "deriving maximum benefit from the extra emphases available in short lines." Unfocused emotion and "literary rhetoric" are still around in Waddington's poetry, but they are offset by the "greater informality and humour" of this collection. "Understatement, directness, and . . . control of verse movement" combine in Waddington's best poems to give "a range and inventiveness" deserving wider popular recognition than she has had.
D124 Oliver, Michael Brian. "Miscellanies, Metamorphosis, and Myth." Rev. of The Price of Gold, by Miriam Waddington; Some Wild Gypsy, by Brenda Fleet; and Living Together, by Joan Finnigan. Canadian Literature, No. 74 (Autumn 1977), pp. 95-97.
The reviewer discusses the intellectual limitations in Waddington's work. The three sections of the book lead us to "expect a mythical reconstruction" of the poet's life, but all that we are given is a "miscellany." The theme in the first section is love, and Waddington "definitely . . . describes her men with style." But, with the exception of the "delightful" "Beau-Belle," she avoids the subject: the feelings are real but undefined, obscured by "word tricks" and images that never explain. In the second section, "Waddington insistently sees herself as an exile," but the ideas are "commonplace" and her "responses to cruelty and sterility" are "trite," expressing a "middle-aged humanist naivete." Only one poem, "The Bower," is a "perfect lyric" which "solve[s]" things symbolically. "But it does not redeem the one-hundred-page miscellany."
D125 Sherman, Joseph. Rev. of The Price of Gold, by Miriam Waddington; Extra Innings, by Raymond Souster; and Top Soil, by Joe Rosenblatt. The Fiddlehead, No. 117 (Spring 1978), pp. 135-37.
Sherman catalogues many themes of the book's three sections. He finds Waddington's "unabashed femininity" to be to her credit and her use of line and punctuation disconcerting.
D126 Purdy, Al. "Some Canadian Poets.... "Journal of Commonwealth Literature, 12, No. 3 (April 1978), 87-88.
Waddington's speaking voice is natural, but she sometimes tries "to make simplicity and candour stand up under more weight of meaning than the words will bear.... If she moans over lost love and being a woman alone one more time, I'll shell out some money to hire her a male escort."
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- Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; The Season's Lovers
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Titles critiqued: SEASON'S lovers (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
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Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 342-384)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; The Season's Lovers
Ricou, Laurie (compiler)
D18 S., S. "Modern and Traditional Mingle in Poems by Miriam Waddington." Quebec Chronicle-Telegraph, 15 Nov. 1958, p. 4.
Waddington follows the Eliot school of Modern poets of the city. Written with sensitive intensity, some of these poems place Waddington with front-rank Canadian poets.
D19 M., D. "Poet's 3rd Collection." The Winnipeg Tribune, 22 Nov. 1958, p. 9.
In this review, the claim that Waddington is "a poet born" is undercut by the observation that ten reviewers "each will likely give you an opposing opinion."
D20 G., M. E. Rev. of The Season's Lovers. Banff Crag & Canyon, 26 Nov. 1958, p. 4.
"Pity is the predominating note in one group of poems," which present the lives of downtrodden humanity." A contrasting group shows "love" as "a necessity, which helps us to bear all things." Waddington's characteristics are "simplicity of words, originality of images,...intensity and reserve."
D21 H., V. "Awareness and Skill." The Globe and Mail [Toronto], 29 Nov. 1958, p. 19.
Waddington reconciles tradition and genuine poetic searching with a style and subjects that come out of life.
D22 Dudek, Louis. "Four Middle-Class Poets--The Late, Over-Ripe, Romantic and Up-to-Date in New Verse." Rev. of The Far Hills and Other Poems, by H. T. J. Coleman; The Season's Lovers, by Miriam Waddington; 24 Poems, by Goodridge MacDonald; and A Romance of the Malibu Hills, by Emily Marguerite Marshall. The Montreal Star, 6 Dec. 1958, p. 24.
The "poetry is loaded with uncomfortable reflections on the poet and on her admirable attitudes." Although there is a surface capability, the attempts at Modernist technique can only be described as shoddy.
D23 Gayn, Mark. "An Understanding Poet Writes Sympathetically." Toronto Daily Star, 13 Dec. 1958, Sec. Entertainment, p. 28. Rpt. ("Miriam Just Isn't Angry") in The Sunday Sun [The Vancouver Sun], 10 Jan. 1959, p. 5.
Waddington is a "traditionalist" engulfed in a noisy crowd of Canadian literary "rebels." There is an inner glow of humaneness in the poems of life's trials. Her poems on cities contain some of her finest writing, and few in Canada write a love poetry as lyrical, as warm, and as unhackneyed.
D24 Mullins, S. G. Rev. of The Season's Lovers. Culture, 20 (1959), 362-63.
Waddington is technically excellent and equally good with the city, nature, and love, though poems on the latter sometimes possess a hermetic quality which impedes the reader's response.
D25 Little, Andrew. "Poet's Corner." The Gazette [Montreal], 17 Jan. 1959, p. 29.
The poems of cities are admirable, but the more personal love poems tend to become involved and occasionally obscure.
D26 Bourinot, Arthur. "On the Book Table." The Saturday Citizen [The Citizen] [Ottawa], 31 Jan. 1959, p. 20.
Most of the review challenges the jacket blurb's assertion that this collection establishes Waddington "as one of our major poets." Not likely, protests Bourinot: after all, she only gets four pages compared to thirteen for D. C. Scott in A. J. M. Smith's Book of Canadian Poetry: A Critical and Historical Anthology. But there is much good verse here, especially the poems about being a social worker, and the book will probably win the Governor-General's Award.
D27 H., M. A. Rev. of The Season's Lovers. Saturday Night, 31 Jan. 1959, p. 22.
A brief notice which mentions Waddington's incisive and poignant interpretations of the themes of common humanity.
D28 M., J. Rev. of The Season's Lovers. The Canadian Forum, March 1959, p. 287.
The reviewer identifies Waddington's affinities with George Herbert, Henry Vaughan, and Andrew Marvell. In her love poems, where she is "something of a metaphysical," she uses a tighter form, particularly octosyllabic quatrains, nearly always with "unexpected irregularities." The book is notable for the author's skill, the integrity of poetic structure, and the "humane constructive intelligence labouring to reconcile the worlds of society and self."
D29 Colombo, J. R. "Three Poets." Rev. of The Season's Lovers, by Miriam Waddington; A Laughter in the Mind, by Irving Layton; and The Deficit Made Flesh, by John Glassco. The Tamarack Review, No. II (Spring 1959), 91-93.
The poems resemble Waddington's previous quiet, meditative poems, yet her attitude is that of a social worker, both involved and not involved in the problems she writes about. The consistent verbal limitation throughout is Waddington's inability to "present an abstract picture of imminent fate."
D30 Pacey, Desmond. Rev. of The Season's Lovers. The Fiddlehead, No. 40 (Spring 1959), pp. 56-59.
Pacey examines Waddington's development through her first three volumes. In Green World her main themes were the beautiful "goodness of the natural world" and the "twisted" frustration found in the urban world. The poetry was "simple," "melodic," and exuberant. In The Second Silence, love--sexual and maternal--"was given more complex treatment," but there was a "loss in verve," a "note of weariness," and "a faintly artificial air" to the poems. The Season's Lovers repeats familiar themes, and adds the idea of art as liberation. There are "conspicuous" technical developments in the "use of rhyme," in "metaphysical ingenuity of image and syntax," and in "enigmatic or epigrammatic wit." This latter rhetoric is "misguided" since it ruins "the simple, honest clarity" which is Waddington's "natural medium." Waddington is an honest, "accurate observer," but she lacks "intellectual power." She needs to develop "an integrated philosophy of life."
D31 Reaney, James. "The Canadian Imagination." Poetry [Chicago], 94 (June 1959), 189.
The reviewer briefly notes Waddington's moving poems about her experiences as a social worker.
D32 Frye, Northrop. "Letters in Canada: 1958. Poetry." University of Toronto Quarterly, 28 (July 1959), 356-57. Rpt. in The Bush Garden: Essays on The Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, pp. 100-01.
Like Raymond Souster, Waddington is concerned "with dereliction in the city," though the social worker's perspective makes her derelicts "less inarticulate, and consequently less pathetic." The main theme of the book is "the difficulty of communication." Waddington's "two gifts, one for spontaneous lyricism and one for precise observation, are better integrated here than in The Second Silence, but are still not completely fused."
D33 Mandel, E. W. "Poetry Chronicle: Giants, Beasts, and Men in Recent Canadian Poetry." Queen's Quarterly, 67 (Summer 1960), 291-92.
The book is full of promise, but the tendency to abstraction and allegory is unfortunate. Waddington is "a much better urban than pastoral poet"; in her city poems she becomes both coherent and passionate.
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Source: Ricou, Laurie (compiler); . Part 2: Works On Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 342-384 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP2.
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- Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; The Second Silence
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- Part 2: Works On Miriam (Dworkin) Waddington: Selected book reviews
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- Annotated bibliography of Canada's major authors, no. 6
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- Ricou, Laurie (compiler)
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- Bibliography
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- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Criticism & interpretation -- Bibliography
Titles critiqued: SECOND silence (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 2: Works On Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 342-384)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
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Source: Part 2: Works On Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 342-384
Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; The Second Silence
Ricou, Laurie (compiler)
D10 P., A. G. "Poems Fail To Impress." Quebec Chronicle-Telegraph, 4 March 1955, p. 6.
The reviewer apologizes for his taste and pleads for more simplicity. The adepts may find all sorts of meanings in the book that are withheld from ordinary people.
D11 Van Dusen, Thomas. Rev. of A Sort of Ecstasy, by A. J. M. Smith; The Metal and the Flower, by P. K. Page; and The Second Silence, by Miriam Waddington. The Saturday Citizen [The Citizen] [Ottawa], 12 March 1955, p. 17.
The reviewer is befuddled by all this "new writing." After noting Waddington's obsession with green and dogs, he admits she shows some "forthrightness and rugged honesty."
D12 Woodcock, George. "Recent Canadian Poetry." Queen's Quarterly, 62, (Spring 1955), 114-15.
One paragraph in a review of nine books identifies Waddington as "an intensely personal writer," but she does not have complete technical mastery. A "fuzziness of perception" bathes the poems "in a bland golden haze."
D13 Rogers, Robert. Rev. of The Second Silence. The Fiddlehead, No. 25 (May 1955), pp. 15-16.
Waddington's is "religious poetry" in which she looks at a torn and broken world with passion and compassion, thus liberating the imagination and firing the spirit.
D14 Wilson, Milton. "Turning New Leaves." Rev. of Pressed on Sand, by Alfred Purdy; The Second Silence, by Miriam Waddington; Europe, by Louis Dudek; and In the Midst of My Fever and The Cold Green Element, by Irving Layton. The Canadian Forum, Oct. 1955, p. 162.
Waddington is seen as a poet of "Sentiment and the Affections." Even the poems of the city are consistent with the general sweetness of tenderness. Her "technical control" saves the poems from cloying sentimentality.
D15 MacLure, Millar. Rev. of The Second Silence. Critically Speaking. CBC Radio, 26 Feb. 1956.
Waddington's eye, to catch the moment in a net of words, is better than her ear, to hear what the words sound like. Although there are some successful moments in the poems of "Work," the reviewer concludes that he will not read the book again.
D16 Frye, Northrop. "Letters in Canada: 1955. Poetry." University of Toronto Quarterly, 25 (April 1956), 296-97. Rpt. in The Bush Garden: Essays on the Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, pp. 50-52.
Waddington's "metaphors are related in her own life" and her "myths" are rooted "in the society around her." "Poems of Children" moves in the associative exuberance of the world of childhood where everything is mysteriously linked with everything else. In adult life, this world is subconscious, emerging in dreams, and in connections with the outer world. Frye notes the "intense murmuring of repeated sound," her sympathtic perspective, and the re-emergence of "'Green World'" imagery. Despite some failures in intellectual excess, Waddington is a poet of "gentle intimacy" and "unmediated...contact between herself and her world."
D17 G., M. E. "Book Review." Banff Crag & Canyon, 1 Dec. 1958.
A brief notice of the simple and intense poems about downtrodden humanity, and the sensitive love poems.
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Source: Ricou, Laurie (compiler); . Part 2: Works On Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 342-384 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP2.
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- Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; The Visitants
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- Authors discussed: WADDINGTON, Miriam; WADDINGTON, Miriam -- Criticism & interpretation -- Bibliography
Titles critiqued: VISITANTS (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Ricou, Laurie (compiler) Part 2: Works On Miriam (Dworkin) Waddington.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 342-384)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06MWP2
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Source: Part 2: Works On Miriam (Dworkin) Waddington. Ricou, Laurie (compiler); Toronto, Ontario : ECW Press, 1985, pp. 342-384
Part 2 Works On Miriam (Dworkin) Waddington: Selected book reviews; The Visitants
Ricou, Laurie (compiler)
D134 Bemrose, John. "Poetry." Rev. of Evening Dance of the Grey Flies, by P. K. Page; and The Visitants, by Miriam Waddington. The Globe and Mail [Toronto], 7 Nov. 1981, Sec. Entertainment, p. E16.
Read with the poetry of P. K. Page, "Waddington's poetry seems especially transparent and supple.... Her best poems tend to be those of sombre vision.... Too often, Waddington's purposefully simple language slips into banality; sometimes the regular sing-song of her more rhythmic pieces falters badly. Yet she deserves credit for her experiments in metre."
D135 Morley, Patricia. "Canadian Poetry Alive and Well." Rev. of The Collected Poems of F. R. Scott, by F. R. Scott; The Acid Test, by Gary Geddes; Poems Twice Told, by Jay Macpherson; and The Visitants, by Miriam Waddington. The Citizen [Ottawa], 5 Dec. 1981, p. 41.
Waddington is a "people's poet," and the "apparent simplicity" of these poems almost conceals their "fine craft and human depth."
D136 Helwig, David. "4 Women Poets at Their Best." Rev. of Lying in Bed, by Mary Howes; Poems Twice Told, by Jay Macpherson; The Visitants, by Miriam Waddington; and Evening Dance of the Grey Flies, by P. K. Page. The Toronto Star, 12 Dec. 1981, p. F11.
Waddington's poems "are most often impelled by observation and emotion rather than by surprises of diction or rhythm.... Ironic awareness is the soil in which her positive assertions must grow."
D137 Lewis, Kevin. "Poetry from the Banal to the Sublime." Rev. of Evening Dance of the Grey Flies, by P. K. Page; The Visitants, by Miriam Waddington; and The Raw Edges: Voices from Our Time, by Dorothy Livesay. Quill & Quire, Jan. 1982, p. 36.
Waddington's verse fluctuates from "very good to very bad." While she has developed a "crisp, precise poetic style," her language can sometimes be inaccurate and "muddy." In poems such as "Managing Death," however, she reveals her talent for economy and clarity.
D138 Abley, Mark. "Meandering toward the End." Books in Canada, Feb. 1982, pp. 21-22. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, Short Story Writers, Filmmakers, Scriptwriters, and Other Creative Writers. Ed. Jean C. Stine. Vol. XXVIII. Detroit: Gale, 1984, 440.
"The Visitants is a fearless book. Its main preoccupations are death, old age, and solitude-all of which are usually tackled with regret, unease, or the kind of boisterous swagger that seems a poor disguise for fear. But Waddington is undaunted at the prospect of death, and unafraid of direct feeling. She can, in consequence, write with warmth about the cold."
D139 Dempster, Barry. "In Review." Poetry Canada Review, 3, No. 3 (Spring 1982), 3.
Waddington addresses "three undeniable matters of life: the troubled world, old age and death. Waddington's vision is of...quick descent and crumbling hope." There is "feminist anger," anger at aging, and "attempts to tie personal history and the world together.... Her eulogies for youth...have the thick and bitter quality of an Alberta Hunter song.... The Visitants sometimes overuses an image..., but, as a total accomplishment, the book is strong poetry...."
D140 Djwa, Sandra. "Letters in Canada: 1981. Poetry." University of Toronto Quarterly, 51 (Summer 1982), 348.
Waddington discusses women directly. Djwa notes the "colloquial flow" and "sensibility" which "wryly articulates."
D141 Rooke, Constance. "Second Launching." Cana-dian Literature, No. 95 (Winter 1982), pp. 116-18.
Waddington's celebration of the "child's ego" is still present, even if the characters are "'old child, infant lady.'" Through this perspective and the order of the poems, Waddington implies "a renewal at the end of life." The moods vary among the poems. "Often Waddington's tone involves a spirited, tough sort of irony...." More lyrical elements emerge in the "poems about death, particularly about the continuing presence of the dead...." Some of Waddington's "anger takes on a familiar, feminist colouring." Several "overtly political" poems are included. "The Visitants is an uneven collection, and not finally a particularly distinguished one.... Waddington's short line becomes tiresome. Often her endings are sentimental or too obvious." Other poems are "irritatingly opaque. Still, there are compensations and sources of interest" in the "central image," "the play of rhythms," and in her "lyrical gift."
D142 Cooley, Dennis. Rev. of The Visitants. Arts Manitoba, 2, No. 2 (Winter 1983), 62.
"It may be that The Visitants in some ways is a response to her [Waddington's] detractors. She risks a lot here...." Her "prophetic note" is not new, but now she "sometimes speaks in a public voice," often with irony. "As a result, a few poems are too prone to give instructions and issue commands. Others get trapped in allegory or plain flabbiness." But "Several poems do work well as satire," and Waddington's "tight but irregular rhyming" is skilled. A few poems show her "growing feminism." "Her strong images and almost primitive metaphors push back into this latest book." Her poems on aging and death mostly "show a winning whimsy in handling the words and rhythms of speech. The more colloquial voice loosens up the poems...." Waddington appears to reach "past metaphor to finger . . . utterly naked words,...unassuming lines." Even the poems on old age "draw on an intimate voice musing over its losses." Her forte "lies more with elegy than satire."
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Source: Ricou, Laurie (compiler); . Part 2: Works On Miriam (Dworkin) Waddington, Toronto, Ontario : ECW Press, 1985. pp. 342-384 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06MWP2.
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Record: 442- Title:
- Part 2 Works On P.K
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- Part 2 Works On P.K. Page: Articles and sections of books, theses and dissertations, interviews, poems dedicated to Page, audio-visual material, photographs and awards and honours
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- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 2: Works On P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 2 Works On P.K
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C173 Photograph. The Globe and Mail [Toronto], 7 Dec. 1946, p. 10.
C174 Photograph. Canadian Art, 20, No. 1 [No. 83] (Jan.-Feb. 1963), 42-45.
C175 Photograph. Quill & Quire, Oct. 1978, p. 3.
C176 Tata, Sam. Photograph. Canadian Fiction Magazine, No. 29 (1979), p. 71.
C177 Photograph. Quill & Quire, Dec. 1979, p. 14.
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Source: Orange, John (compiler); . Part 2: Works On P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 237-282 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP2.
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Record: 443- Title:
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Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 2: Works On P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 2 Works On P.K
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C178 Poetry [Chicago]'s Oscar Blumenthal Prize for "The Dreamer" (B54), "Element" (B55), "Quarrel" (B56), "The Sick" (B57), and "Vacationists" (B44) (1944).
C179 Bertram Warr Award from Contemporary Verse for "Morning, Noon and Night" (B74), "Piece for a Formal Garden" (B75), "Sailor" (B76), "Squatters, 1946" (B77), and "Virgin" (B78) (1947).
C180 Governor-General's Award for The Metal and the Flower (1954).
C181 Order of Canada (1977).
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Source: Orange, John (compiler); . Part 2: Works On P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 237-282 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP2.
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Record: 444- Title:
- Part 2 Works On P.K. Page: Articles and sections of books, theses and dissertations, interviews, poems dedicated to Page, audio-visual material, photographs and awards and honours; Audio-visual material
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- Part 2 Works On P.K. Page: Articles and sections of books, theses and dissertations, interviews, poems dedicated to Page, audio-visual material, photographs and awards and honours
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 2: Works On P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 2 Works On P.K. Page: Articles and sections of books, theses and dissertations, interviews, poems dedicated to Page, audio-visual material, photographs and awards and honours; Audio-visual material
Orange, John (compiler)
C172 Anderson, Mia. "Ten Women, Two Men and a Mouse." Narr. Mia Anderson. Anthology. Prod. Claudette Lenihan. CBC Radio, 30 Dec. 1972.
In a radio adaptation of the stage show, Mia Anderson reads excerpts of writings by Canadian women, including Page.
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Record: 445- Title:
- Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews; Selected book reviews; As Ten, as Twenty
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Titles critiqued: AS ten, as twenty (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 2: Works On P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
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Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews; Selected book reviews; As Ten, as Twenty
Orange, John (compiler)
D1 C[rawley]., A[lan]. "Editor's Notes." Contemporary Verse, No. 19 (Oct. 1946), pp. 17-18.
Page explores the "fantastic side of the ordinary lives she sees about her." The "ordinary gestures" of life are intensified in the poetry and no interpretation of them is offered. She is content to be detached and impersonal, a recorder and an observer. She shows "sincerity, style and personality." She has a strong social conscience and does not fall into sentimentality. Furthermore, she has skills in arranging sound patterns and her most distinctive trait is her wealth of sharp and startling imagery drawn from a wide variety of sources.
D2 Birney, Earle. Rev. of As Ten, as Twenty, by P. K. Page; East of the City, by Louis Dudek; and The White Centre, by Patrick Anderson. Canadian Poetry Magazine, 10, No. 2 (Dec. 1946), 43, 44-45, 47. Rpt. (abridged--"Three Important Young Poets: Page, Dudek, Anderson") in Spreading Time: Remarks on Canadian Writing and Writers: Book 1: 1904-1949. By Earle Birney. Montreal: Vehicule, 1980, p. 88.
Birney catalogues the similarities and limitations of P. K. Page, Louis Dudek, and Patrick Anderson. They write without sentimentality or cliches, and they all share a certain coldness or intellectual aloofness which is a "by-product of their strongmindedness, their repudiation of easy tearjerking banal conformity." Page's poetry is dominated by psychological probing, a clinical interest in the moods of a variety of people, and an "x-ray trick of penetrating beyond surfaces, either of substance or of manner, into the matrix of her theme." Page pushes beyond the psychological issues to a "human pattern pregnant with the moral and intellectual dilemmas of our time."
D3 Bruce, Charles. "The Poetry of P. K. Page." The Globe and Mail [Toronto], 7 Dec. 1946, p. 10.
Bruce praises Page for her skill, precision, ironic mood, and her clear and critical ideas. Though he is not convinced of the place of rhetoric or ideology in poetry, Bruce goes on to say that Page's "rare political essays in verse are the only ones I have ever seen that achieved success." The review is accompanied by a photograph of Page.
D4 G., G. H. "Recent Canadian Poetry." Rev. of V. E. Day, by Audrey Alexandra Brown; The Blossoming Thorn, by John Coulter; The White Centre, by Patrick Anderson; East of the City, by Louis Dudek; and As Ten, as Twenty, by P. K. Page. Queen's Quarterly, 53 (Winter 1946-47), 540.
Several poems concern a woman, and a phrase in "Love Poem" "serves to identity the collection." "Election Day" and "Only Child" focus on "civic duty and private quality."
D5 Martin, B. Rev. of As Ten, as Twenty. The Dalhousie Review, 26 ([Jan. 1947]), 503.
Page is criticized for being an "elusive" writer, and because sometimes she "wraps up very little in a difficult form."
D6 Smith, A. J. M. "New Canadian Poetry." Rev. of As Ten, as Twenty, by P. K. Page; and The White Centre, by Patrick Anderson. The Canadian Forum, Feb. 1947, pp. 250-51.
In self-analysis and dreams Page finds a "mirror-like stage for the re-enactment of the hesitations and struggles of the outer world of objective experiences. She creates for this purpose a half-psychological, half-mythological landscape, and is seeking for a myth and a language." Recurring symbols are the train, the traveller, illness, dreams. There is a constant shifting between outer surfaces and inner reveries, but the images are hard and clear, and the writing is precise and exact.
D7 MacKay, L. A. "Poetry Becomes a Natural Language as Canadians Grow in Competence." Saturday Night, 22 March 1947, p. 22.
MacKay praises Page's seemingly spontaneous use of language, her insight which "appears as an intuitive almost dramatic sympathy," her effective use of contrasts and her use of "accurate and flexible rhythms." Her poems of social protest are better handled by others, and her real strength lies in her personal insights.
D8 Brown, E. K. "Letters in Canada: 1946. Poetry." University of Toronto Quarterly, 16 (April 1947), 249-50. Rpt. in Responses and Evaluations: Essays on Canada. By E. K. Brown. Ed. David Staines. New Canadian Library, No. 137. Toronto: McClelland and Stewart, 1977, pp. 256-58.
Page is preoccupied with multitude, solitude, "the need for community, the fear of peculiarity." Her poems are arranged to emphasize her themes and the value she places on universality. Her writing is intense, strong, dignified, and beautiful.
D9 Meredith, William. "A Good Modern Poet and a Modern Tradition." Poetry [Chicago], 70 (July 1947), 208-11.
Page is proof that the idiom of Modern poetry is no longer used as a gesture of revolt, but as a natural poetic medium that has come of age. The ideas in the poems are not new, but they are deeply felt because of the poet's use of quick, strange images and striking diction. "Miss Page is, like modern poetry, way beyond showing promise."
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Source: Orange, John (compiler); . Part 2: Works On P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 237-282 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP2.
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Record: 446- Title:
- Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews; Selected book reviews; Cry Ararat! Poems New and Selected
- Other Title:
- Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Criticism & interpretation -- Bibliography
Titles critiqued: CRY ararat! Poems new and selected (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 2: Works On P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Source: Part 2: Works On P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 237-282
Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews; Selected book reviews; Cry Ararat! Poems New and Selected
Orange, John (compiler)
D17 Cherry, Zena. "Books to Read and Give Away Later as Christmas Gifts." The Globe and Mail [Toronto], 1 Dec. 1967, p. 16.
In a notice of the publication of Cry Ararat! Poems New and Selected the writer briefly outlines Page's background and recommends the book.
D18 Waddington, Miriam. "Five Without a Common Song." Rev. of An Idiot Joy, by Eli Mandel; Cry Ararat! Poems New and Selected, by P. K. Page; Phrases from Orpheus, by D. G. Jones; As Is, by Raymond Souster; and Painting, by Lionel Kearns. The Globe Magazine [The Globe and Mail] [Toronto], 13 Jan. 1968, p. 13.
In this review of the five books of poetry Page is praised for the way the older poems have held up even though they speak a "language of anxiety which finds its consolation in metaphor." The new poems hold despair--the despair artists feel at not being able to stop time and possess the world's beauty. But she does possess it momentarily in the "inner myth she creates to balance the outer one."
D19 Cook, Gregory. Rev. of Cry Ararat! Poems New and Selected. Dalhousie Review, 48 (Spring 1968), 151, 153.
Page's poetry is "histrionic" in that her characters are stock types and her tone is "justifiably witty and satiric." The insights in the poems are original, but the endings are too tentative and weak. In the subjective poems there is an intrusive self-consciousness, but some of them have a hypnotic effect. Page often displays a basic love of humanity along with her tempered social commentary.
D20 Purdy, Alfred W. "Aiming Low." The Tamarack Review, No. 47 (Spring 1968), pp. 86-87.
Purdy finds the title "silly," but admires Page's gift for "the dreamy stuff that borders childhood" which can veer off into nightmare. Page's people are complete, albeit unbelievable, and "around her poems...are the beautiful myths." The new poems are welcomed in particular. Page is "sensuous, heavy and dream-like as the great flowers that always seem to bar her roads."
D21 Gustafson, Ralph. Rev. of Cry Ararat! Poems New and Selected. Queen's Quarterly, 75 (Summer 1968), 373-74.
The volume is welcomed and the reviewer laments that there is not even more new material. Page can transmute outer observations into "symbols of psychological transactions of the soul with itself." Her theme is "the dreams that haunt us." Her poems are "all allegory" and even though sometimes "the crafting gets in the way" or the metaphors are piled up too high, most often the poems communicate "what cannot be stated."
D22 L., K. A. Rev. of Cry Ararat! Poems New and Selected. Canadian Author & Bookman, 43, No. 4 (Summer 1968), 18-19.
The artist, P. K. Irwin, has taken too much time away from the poet, P. K. Page. Page's poems are now more universal in attitude and appeal. The title poem is the most effective one in combining her sense of wonder and her search for "reality often glimpsed but never seen clearly."
D23 Robinson, David N. "The Total I." Canadian Literature, No. 37 (Summer 1968), pp. 92-93.
Page's "well-edited, highly integrated book" is welcome and long overdue. The seventeen new poems show that Page has become interested in integrating sound and visual image, fusing eye and ear. She states her interest in "Bark Drawing" and in "Cook's Mountains." The main weakness in the poetry, and Page is aware of it, "is the tendency to be carried away by sound patterns or to have unusual imagery obscure the meaning of a poem." Usually, however, she masters sounds and "Cry Ararat!" tells us how. The line drawings in the book are "extremely fine."
D24 MacCallum, H. "Letters in Canada: 1967. Poetry." University of Toronto Quarterly, 37 (July 1968), 367-68.
The older poems in the collection stand up to the passing of time. The more recent poems are less cryptic, more open and "emphasize the integrative rather than the disruptive aspects of the imagination." The collection reveals a single unified sensibility represented best in the title poem. A central theme in Page's poetry is "the nature of perception," and she often writes of dreams, transformation of names of things, and of the "subjectivity of sensation." Her metaphors are surprising; her interest in forms is pervasive. In many poems one finds references to details of designs on things.
D25 Hine, Daryl. "Critic of the Month II, Several Makers: Poets and Translators." Poetry [Chicago], 113 (Oct. 1968), 58-59.
Page's poems export well, do not date, and contain a wide range of moods and styles. There is not a word that is superfluous or wrong. Page's "sensibility, intelligence and variegated technical accomplishment" remind the reviewer of Elizabeth Bishop, who also describes the same landscape and uses the same figures of speech.
D26 "Poetic Vision." Times Literary Supplement, 26 Oct. 1973, p. 1306. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Phyllis Carmel Mendelson and Dedria Bryfonski. Vol. VII. Detroit: Gale, 1977, 291-92.
Page's style is praised for her careful selection of telling details and images and for her witty conceits. "Some readers" may object to a tone or attitude of condescension in the poetry, or to the assumption that children exhibit corruption only as they grow up, or to the "trancelike states that fascinate the poet," or her combination of fantasy with sharp observation. Her poetry repeats too many images too often, though she can also often match observations with matching emotion and give us fresh insights.
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Titles critiqued: P.K. Page: Poem selected and new (Book); EVENING dance of the grey flies (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
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Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
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Source: Part 2: Works On P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 237-282
Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews; Selected book reviews; P.K. Page: Poem Selected and New and Evening Dance of the Grey Flies
Orange, John (compiler)
D27 Pearson, Alan. Rev. of P. K. Page: Poems Selected and New. The Canadian Forum, May-June 1974, pp. 17-18.
One of our finer poets, Page offers "subtle meditations" and "intriguing glimpses into her solipsistic world." Recurring motifs in the book are the loss of innocence, an iconography of hands, inner landscapes, and the need to find sanctuary from the world. The reviewer feels that many of the poems must be autobiographical, but that Page is hiding details. The poems are dense, pure, closely stitched. The reviewer prefers the shorter poems because they are more accessible.
D28 Wieland, Sarah. Rev. of P. K. Page: Poems Selected and New. Quill & Quire, July 1974, p. 21.
Page's poems are among the most crafted in our literature. They cover a wide range of topics with Audenesque skill, contain a "compassion for all things entrapped," and "command a broad emotional spectrum from whimsy to rage."
D29 Inkster, Tim. Rev. of P. K. Page: Poems Selected and New. The Tamarack Review, No. 63 (Oct. 1974), pp. 83-84.
Page's acute awareness of language is assessed and related to her theme of masks. Words and masks are both not what they seem to be and something else as well. Page can "accept them for what they are, and see beyond them." In some poems a "theatrical use of the grotesque illuminates the mundane," and in others the poet's ability to embrace the real as it is found makes the works powerful. Repetition becomes a subtle use of simile "in which something is compared roughly to itself." The only two complaints in the review are aimed at "Summer Resort" and at the editors, who did not date the poems.
D30 Scobie, Stephen. Rev. of P. K. Page: Poems Selected and New. Queen's Quarterly, 81 (Winter 1974), 645-57.
The reviewer complains that the poems are not dated or identified as to place of first publication, so the volume is not useful to scholars. However, it is a welcome and invaluable book. Page's distinctive style is often "difficult" because she builds complex, witty, personal structures into her poems. Her rhythmic effects are also as controlled and precise as her choice of images. Her poems fall into three phases: an early politically concerned phase that becomes more "abstract, personal and private; a phase which deals with inner realities and turmoil in portraits of others, and recent poems which are both more open and more private."
D31 Adamson, Arthur. Rev. of Poems Selected and New. CV/II, I, No. 1 (Spring 1975), 9-10.
Adamson suggests that the poems help to illuminate other themes in Page's "classical" writing. He divides the book into four parts, each part corresponding to the "poet's development as a human being and as an artist." The first part contains detached, satirical views of society -- a tour through the inferno of the war. Sometimes the satire becomes surreal, yet Page is also excellent in "the metaphoric delineation of psychological relationships." Part II is a series of portraits, and, at least one of these, "Only Child," is "a masterpiece." Part III begins in a fallen garden and takes us through the wasteland to a new birth in a "kind of writing that might be termed surrealistic realism." Every detail is exact and appropriately placed, but "the perspective is filtered and distorted through a mind under stress." Part IV is a summary of all the themes and styles in the other sections, but with even more startling effect. Page's voice is unforced, controlled, incisive, "intimately personal without restriction of range."
D32 Marshall, Tom. "Inferno, Paradise and Slapstick." Canadian Literature, No. 64 (Spring 1975), pp. 104-06, 107. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Phyllis Carmel Mendelson and Dedria Bryfonski. Vol. VII. Detroit: Gale, 1977, 292.
Page's imaginative universe has at one pole a vision of the inferno "shading into social concern," and a paradise at the other--a "mandala expressing harmony and wholeness." In her few poems which journey to inner space, Page is an explorer. The volume has four sections. The first contains poems of social observation which yoke together compassion and "too-decorative metaphoric busyness and much alliteration," in her "neo-Freudian, neo-Marxist, Auden-Thomas, rococo style of the forties." The second section deals with case histories of loss of innocence and the theme of illness turned to beauty. In the third section, metaphors and symbols serve to express an interior world. The final section contains poems which enlarge on the previous themes and call upon the "power of metaphor to transform reality" and "the power of the human imagination to extend itself...into a new direction...." Page has moved into religious seeing as she has refined her style and perfected her insight.
D33 Hornyansky, Michael. "Letters in Canada: 1974. Poetry." University of Toronto Quarterly, 44 (Summer 1975), 323-38.
Page admits us to worlds different from our own and also delineates our own experiences clearly. "The I has been wholly transformed to eye. The mind is humane, wise, adult."
D34 Lawrence, Karen. Rev. of The Sun and the Moon and Other Fictions and P. K. Page: Poems Selected and New. Branching Out, 2, No. 6 (Nov.-Dec. 1975), 41.
The poetry collection is a "testament of Page's aptitude" in poetry. Her voice is "inimitable" and her poems have been a major influence on younger poets. Both books are badly in need of proof-reading.
D35 Barnes, Elizabeth. Rev. of P. K. Page: Poems Selected and New. Quarry, 24, No. 1 (Winter 1975), 70-71.
The reviewer is impressed by Page's range of subject matter and style. Some poems have an "Emily Dickinson kind of voice," while others are formal and elegant or sympathetic. The love poems seem to concentrate on isolation and separation, and Page uses images that are opposite in meaning or connotation to reinforce this sense of separation. Images of air, water, gardens, snow, and minerals are at the centre of her interior landscape. Her important poems have as a common theme the loss of innocence.
D36 Bemrose, John. "Poetry." Rev. of Evening Dance of the Grey Flies, by P. K. Page; and The Visitants, by Miriam Waddington. The Globe and Mail [Toronto], 7 Nov. 1981, p. 16.
Page is unusual among our contemporary poets in that, like Keats and Marvell, she insists on beauty "as though it had the power to save us." Although this volume contains suffering, Page is "essentially a rhapsodist" whose best poems are about birds, insects, and flowers. Her poetry is intensely visual and metaphorical. Her short story completes her vision, though it proves that there are limits to beauty, "and it's these limits we chafe against in Page's voluptuous garden."
D37 Helwig, David. "4 Women Poets at Their Best." Rev. of Lying in Bed, by Mary Howes; Poems Twice Told, by Jay Macpherson; The Visitants, by Miriam Waddington; and Evening Dance of the Grey Flies, by P. K. Page. The Toronto Star, 12 Dec. 1981, p. F11.
Page has "a fine sense of verbal texture," and her language is "intense." She "is a poet of delight, and even her meditations on death manage to strike off brilliant sparks." Her short story "suggests that the greatest insight is perhaps always found at the edge of dissolution."
D38 Gasparini, Len. "A Page of Disappointment." The Vancouver Sun, 18 Dec. 1981, Sec. Leisure and T.V. Week, p. 39.
The poems are not as consistently satisfying as Page's earlier work. They are lyrical, elegiac, contain vivid imagery and a firm foundation, but they seem to lack "The unique tension that is required to transfuse emotion to the reader" and "...their structure is often flimsy." Observations of simple things lead to compelling poems and Page's style and subject matter is very like that of Elizabeth Bishop. The collection has some fine poems such as "Phone Call from Mexico," but, generally, the reviewer is disappointed by it.
D39 Lewis, Kevin. "Poetry from the Banal to the Sublime." Rev. of Evening Dance of the Grey Flies, by P. K. Page; The Visitants, by Miriam Waddington; and The Raw Edges: Voices from Our Time, by Dorothy Livesay. Quill & Quire, Jan. 1982, p. 36.
Page is the most satisfying poet of the three because she deals more consistently with her own experience or subjects which are close to her. Her imagery is "thick," but usually it is "marshalled to serve a specific purpose," though sometimes it appears as "showy posturing." But the poems are "small jewels" and the short story is "excellent." Page stands as "one of the premier poets in Canada simply because she has such a beautiful way with words."
D40 Beardsley, Doug. Rev. of Rumor Verified, by Robert Penn Warren; and Evening Dance of the Grey Flies, by P. K. Page. Times-Colonist [Victoria], 2 Jan. 1982, p. 6.
Beardsley compares Page's phrasing to that of Sviatoslav Richter or Arturo-Benedetti Michelangeli. Page employs diction and syntax with delicacy, and we learn to expect the unexpected. When she uses domestic imagery her vision narrows too much and "in the work of a poet such as P. K. Page, it is particularly noticeable, juxtaposed with such wonders as regularly occur in her work." Yet her poetic world is enchanted and enchanting and she "has given us some of the most startling beautiful poems of our age."
D41 Rooke, Constance. "A Unique Voice." Monday [Victoria], 15 Jan. 1982, p. 15.
Page's "unique poetic voice," her "extraordinary craft," and "metaphysical wizardry" shape these rich poems. The poems indicate a yearning for weightlessness, the "dissolution of boundaries between subject and object," and the recovery of some half-remembered state of consciousness. The book contains five sections: the first contains a variety of domestic occasions; the second is concerned with death; the third is a short story; the fourth contains childhood visions with an "autobiographical flavour"; the fifth contains Page's "most purely visionary poems."
D42 Fitzgerald, Judith. "Dark and Light Humors in Free Verse." Rev. of Evening Dance of the Grey Flies, by P. K. Page; and The Visitants, by Miriam Waddington. The Windsor Star, 23 Jan. 1982, p. B8.
Page's work is compared with Miriam Waddington's since both writers have always had a clear sense of what they are doing, and, often, their subject matter is similar. Page's work is filled with celebration, expansiveness, compassion, and restraint in contrast to Waddington's, which contains complaints, local issues, pragmatism, and lamentation.
D43 Scobie, Stephen. "More Than Meets the Eye." Books in Canada, March 1982, p. 20.
Page's diction in her poems is as exact and delicate as the hard-nibbed instruments in her drawings. She has a perception which "seeks not only to absorb, but to penetrate through" appearances of things "toward a non-objective vision" which needs mystical language to describe it. Page may become "self-absorbed, or even arrogant, in the pride of her perceptions," but, in her poems, and in the central short story, she "expresses the paradox of a view that is both arrogant and selfless, crystal clear and yet ineffable."
D44 Dempster, Barry. "In Review." Poetry Canada Review, 3, No. 3 (Spring 1982), 3.
In Page's "poetic universe," the cosmos is "studied rather than mythologized." "At her best, Page has a talent for going straight to the point of the poem,...and then, just threatening dryness," her language becomes "poetic." "Equally often though..., her poems resemble the codes of formulas, monotonous rhythm and the frustration of short form symbols...."
D45 Mandel, Ann. "The Beautiful Page." The Canadian Forum, May 1982, pp. 32-33.
The poems and the story contain "an exaltation of the assumption of the body into an artifice of eternity." Page has always written about "landscapes behind the eyes," and in this elegantly crafted collection her technique is dazzling. "The light in Page's poems comes from both the sun's eye and the eye's sun, twin beams turning to propagate not only pictures but a visionary third world of images burning with their own light."
D46 Djwa, Sandra. "Letters in Canada: 1981. Poetry." University of Toronto Quarterly, 51 (Summer 1982), 347-48.
"These are gentle, assured poems of coming to terms with age and death, poems in which the paradigm of rebirth or transfiguration is central.... Hers is an imagination which irradiates matter into metaphor." Page also develops "a new lyric voice. It is a transforming vision in which God is immanent in all creation.... The poems characteristically begin with perception but end in vision.... However, Page's metaphysic...is influenced by Sufism."
D47 Woodcock, George. "Light from Within." Rev. of Evening Dance of the Grey Flies, by P. K. Page; The Acid Test, by Gary Geddes; Running on Empty, by Robert Phillips; The Ruined Motel, by Reginald Gibbons; and At Park and East Division, by Robert Lietz. The Ontario Review, No. 17 (Fall-Winter 1982-83), pp. 99-103, 105.
The Pre-Raphaelites paid close attention to visual detail in poetry and painting, and they impress us "not only by the meticulously detailed surface, faithful to perceived nature...but also by the strange light engendered from within which illuminates that surface." It is this "visuality combined with vision" that one finds in Page's work. This second surge of vitality "now speaks with an almost Delphic intensity of expression." Page's early poetry mingled accurate visual images with dreams. Then, after a long period when only a few new poems were produced, she developed a "new economy of phraseology" where she explored "links between the aural and the visual perceptions." Now her verbal economy can be linked to her "philosophic inclination towards austere mystical traditions like Sufism." The long, flowing, eloquent lines of the early poems have been replaced by an "increasing purification of diction and of linear form." Her pattern of thought has moved from inward images to images of "natural sublimity," which point to a way of liberation. The images in this volume reveal "unexpected and luminous relationships" so that outer and inner light become one.
D48 Adcock, Fleur. "Scenes of Torture." Rev. of True Stories, by Margaret Atwood; Earthwalks, by Nicki Jackowska; and Evening Dance of the Grey Flies, by P. K. Page. The Times Literary Supplement [London], 18 March 1983, p. 278.
Page "dwells more on the surface of things" than Atwood does, and the "minute intricacies of her drawings find a verbal parallel" in her fondness for words and phrases from the visual arts. The poems consequently "have a decorative charm," but often they do not succeed. The collection contains a "spiritual quest," but "mystical experiences are so resistant to language" that Page's images of metal and silk become used too often. The less ambitious poems ("Snowshoes," "Phone Call from Mexico," and "Full Moon") are more successful.
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Source: Orange, John (compiler); . Part 2: Works On P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 237-282 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP2.
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Record: 448- Title:
- Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews; Selected book reviews; The Metal and the Flower
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- Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
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- Bibliography
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- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Criticism & interpretation -- Bibliography
Titles critiqued: METAL and the flower (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 2: Works On P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Source: Part 2: Works On P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 237-282
Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews; Selected book reviews; The Metal and the Flower
Orange, John (compiler)
D10 House, Vernal. "Dr. Freud or Frustration?". The Globe and Mail [Toronto], 19 Feb. 1955, p. 12.
Page is criticized for her "almost incomprehensible poems. She is "clever and advanced," but she "seems enthralled with exhibitionism."
D11 Bevan, A. R. Rev. of The Metal and the Flower. The Dalhousie Review, 35 (Spring 1955), 94, 96, 98.
Page's work "transcends the bounds of narrow provincialism or nationalism." She treats the troubled people in her work sympathetically and with subtle sensitivity. Her characters do not know themselves and are isolated and confused, but they emerge quivering from "their protective shell of self-delusion." Some of the poems are obscure though even they have an elusive beauty of expression about them which elicits a purely emotional response.
D12 Frye, Northrop. "Letters in Canada: 1954. Poetry." University of Toronto Quarterly, 24 (April 1955), 251-52. Rpt. in The Bush Garden: Essays on the Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, pp. 39-40.
Page writes "pure poetry," though sometimes a conceit is forced or inappropriate, or her theme is prosaically stated early in the poem. She "has a symbolic language that operates on three levels: a lower level of emotion and instinct, symbolized chiefly by the sea; an upper level of intelligence symbolized by angels and abstract patterns in white; and a middle level of metal and flower, rose garden, and barbed wire, where there is passion but little communion."
D13 Maclure, Millar. Rev. of The Metal and the Flower. The Canadian Forum, May 1955, pp. 31-32.
Page, like most contemporary poets, abstracts detail from public life and uses it to compose her private vision. She writes of the "relation of the world and the poet" and is "preoccupied with the form and meaning of that 'transparent' yet hidden self which lies beneath the world of action and appearance." Page's hold on language is more certain and her imagery "is more dense and subtle, and less strained than it used to be," though she sometimes imitates Auden or Dylan Thomas.
D14 Woodcock, George. "Recent Canadian Poetry." Queen's Quarterly, 62 (Spring 1955), 113.
In Page's attempts to understand her world she writes poems with a gravity of manner and tone which makes them stiff. But her "walls of words" are made of glass and her vision is intelligent and compassionate. Her dominant theme is the vulnerability of innocence. When "fancy triumphs over imagination" her symbolism seems contrived and her "tendency to write in vignettes" makes her book monotonous. She works well within her limitations, however.
D15 Cogswell, Fred. Rev. of The Metal and the Flower. The Fiddlehead, No. 26 (Nov. 1955), pp. 28, 30.
Cogswell points out a dualism in Page's vision. She uses a "filter of innocence" to see the "angelic surface" of things, and then God-like she views things from an ironic distance and finds the dark depths of them. The dark unconscious, or the animal nature of everything, always reasserts itself so there is no escape. But Page is not bothered by this implicit nihilism. Neither the doctor-poet recording symptoms, nor the patient-readers think of the "consequences of the disease." Sometimes Page's cleverness betrays her in the use of a contrived image, but her use of images is usually so fresh that the poems succeed. Her poetic world is coherent and convincing until we detach ourselves from it and recognize that "her wisdom is the wisdom of despair" and that her range of subjects is "sadly limited."
D16 Berryman, John. "The Long Way to Macdiarmid." Poetry [Chicago], 88 (April 1956), 52-53.
Berryman evaluates Page as the most accomplished Canadian poet he has read. Her poems are "sensitive and thoughtful, and attentive to their topics, and styled, and they have a tone." These traits are mostly taken from Rilke and Page should look to other models. She needs a "counterirritant" to the influences of Eliot, Auden, Dylan Thomas, so she "might then present herself and her world more herself and it to us." "Portrait of Marina," her best poem, is based in Lowell, so perhaps she is being freed.
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Source: Orange, John (compiler); . Part 2: Works On P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 237-282 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP2.
Item Number: ABCMA06PPP2000006004004002
Record: 449- Title:
- Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews; Selected book reviews; The Sun and the Moon and Other Fictions and To Say the Least: Canadian Poets from A to Z
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- Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Criticism & interpretation -- Bibliography
Titles critiqued: SUN and the moon and other fictions (Book); TO Say the Least: Canadian Poets from A to Z (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 2: Works On P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP2
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Source: Part 2: Works On P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 237-282
Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews; Selected book reviews; The Sun and the Moon and Other Fictions and To Say the Least: Canadian Poets from A to Z
Orange, John (compiler)
D49 Stubbs, Betty. Rev. of The Sun and the Moon and Other Fictions. British Columbia Library Quarterly, 37, No. 3 (Winter 1973), 37-38.
This attractive book in style and format should have been more critically proof-read. The stories are interesting, but they repeat the themes of the poems of the 1940s and "the poems are more memorable." The title story "might be an allegory of the plight of the artist" in an affluent, brittle, middle-class society.
D50 Woodcock, George. "Isolating a Theme in Our Fiction." Macleans's, April 1974, p. 97.
A notice of the book which mentions that the short stories are "rich in poetic comedy and the pathos of city lives."
D51 Hebb, Gwendolyn Davies. "A World Disturbing in Its Dislocations." Open Letter, Ser. 3, No. 2 (Spring 1975), pp. 123-25.
This review begins with an analogy between Page's novella and Oscar Wilde's fairy-tale "The Nightingale and the Rose." Page's story lacks Wilde's polish, ethereality, and brevity, but it successfully weaves together "both real and imaginative worlds where human beings struggle in vain to capture and retain their sense of humanity." The short stories rely heavily on dialogue and "revolve around the figurative significance of an object or an individual." Page presents both the comic and the tragic within one tightly controlled structure, chooses details well, and creates tensions by introducing the irrational and the grotesque. She can conceptualize "an entire world or character in a single phrase," yet her "disturbingly dislocated world" contains sympathy and compassion for her characters.
D52 Lawrence, Karen. Rev. of The Sun and the Moon and Other Fictions and P. K. Page: Poems Selected and New. Branching Out, 2, No. 6 (Nov.-Dec. 1975), 41.
The reprinted novel is an embarrassment, unacceptable even as a romance. The dialogue is stilted, the symbolism is too obvious, and the metaphors are incomprehensible. The other stories are a little better. Both books are badly in need of proof-reading.
D53 French, William. "A to Z of Canadian Poets Is, to Say the Least, Unusual." The Globe and Mail [Toronto], 23 Oct. 1979, p. 13.
French outlines three unusual aspects of this volume: the poems' brevity, the book's encyclopaedic range, and the fact that its poets have contributed their royalties to the Gerald Lampert memorial. The organization of the book is praised and a number of the shortest poems are quoted. The collection is "stimulating, provocative and generally successful."
D54 Dafoe, Christopher. "Struggling to Support the Muse." The Vancouver Sun, 1 Dec. 1979, p. D7.
There is a brief summary of the general public's attitude towards poetry and an assurance that this new anthology of short poems is suitable for any "broad-minded, expansive and optimistic member" of the public. The anthology "could also serve as the introduction to contemporary Canadian poetry that many Doubting Thomases have been looking for." Page's Introduction is quoted at length, and the book is recommended to those who have decided against Canadian poetry because it may change their minds.
D55 Wachtel, Eleanor. "Rattle in Your Brain." The Vancouver Sun, 22 Feb. 1980, p. 38.
Small poems, easily memorized, spark one's brain. Page began remembering a few and they grew into a miniature garden. Short poems can also be "narrative flights" and the thematic arrangement is subtle. Overall, it is a "fine book with a noble purpose."
D56 Aubert, Rosemary. Rev. of To Say the Least: Canadian Poets from A to Z. Quill & Quire, March 1980, pp. 62-63.
The collection is greater than the sum of its parts since it links the poems thematically and has a certain unity, even though there are many different kinds of poets represented. The book is a "coffer of gems" worth keeping or giving even to those who do not usually enjoy poetry.
D57 Levenson, Christopher. "Ironic Fairness and Other Qualities." Rev. of A Planet Mostly Sea and Living on the Ground: Tom Wayman Country, by Tom Wayman; To Say the Least: Canadian Poets from A to Z, ed. P. K. Page; and A Balancing Act, by Florence McNeil. CV/II, 5, No. 3 (Summer 1981), 24-25.
With the "few notable exceptions" of P. K. Page, Margaret Atwood, Carol Shields, and Florence MacNeil, "...contemporary Canadian poetry does not lend itself to wit." Levenson notes the variety of themes and subject matter and the inevitable disappointments in "so extensive an anthology." There are also a number of omissions, but this "is only to admit that my taste does not coincide exactly" with Page's. A number of poems are discussed.
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Source: Orange, John (compiler); . Part 2: Works On P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 237-282 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP2.
Item Number: ABCMA06PPP2000006004004005
Record: 450- Title:
- Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews; Selected drawing reviews
- Other Title:
- Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Orange, John (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: PAGE, Patricia K.; PAGE, Patricia K. -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Orange, John (compiler) Part 2: Works On P.K. Page.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 237-282)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PPP2
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Source: Part 2: Works On P.K. Page. Orange, John (compiler); Toronto, Ontario : ECW Press, 1985, pp. 237-282
Part 2 Works On P.K. Page: Selected book reviews and selected drawing reviews; Selected drawing reviews
Orange, John (compiler)
D58 Sabiston, Colin. "Drawings by Poet Unique." The Globe and Mail [Toronto], 30 April 1960, p. 15.
This review of a showing of twenty-eight drawings (twenty sold in the first week) praises P. K. Irwin's "curiously vivid imagination" and her "uncanny skill in giving unusual day-dreams visual form on paper." She is a "singer in line and colour" who draws the flora of the jungle in what can best be described as a "happy surrealism that requires a new critical vocabulary."
D59 Skelton, Robin. "Three Artists at Gallery, Painters of Splendid Vision." Victoria Daily Times, 11 Dec. 1965, p. 7.
In contrast to the other painters in the showing, Page's drawings seem to be private statements containing "the big symbols" in whirls and sweeps of "as yet undividuated [sic] forms." Page faces the human predicament with Kierkegaardian courage and sensibilities.
D60 Skelton, Robin. "Three Exceptional Artists at Gallery." Victoria Daily Times, 18 Dec. 1965, p. 7.
The reviewer qualifies his earlier praise of the three painters. Page's work, for example, is intense, intricate, and finely crafted. Her messages are recognized only after one is astonished by her technique. Upon closer observation, though, one notices that her forms are not as delicate, and details are not as well controlled, as a first glimpse suggests. What Page does is to "disturb us with the imagery so impressive that technical misdemeanors become irrelevant."
D61 Scott, Andrew. "Landscape Art of B.C. Measured in Success Rather Than Failure." The Vancouver Sun, 19 April 1978, p. C3.
This is a review of Gordon Payne's landscape paintings, but Page is mentioned as a "co-star" in the exhibition. Her works are elegant pastels and gouache paintings, but there are not enough to provide more than a glimpse of Page as an artist.
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Source: Orange, John (compiler); . Part 2: Works On P.K. Page, Toronto, Ontario : ECW Press, 1985. pp. 237-282 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PPP2.
Item Number: ABCMA06PPP2000006004004006
Record: 451- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Audio-visual material
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- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts
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- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Audio-visual material
Wengle, Annette (compiler)
A18 Adventure at Moon Bay Towers. Narr. Aileen Seaton. Talking Books. Toronto: CNIB, 1975. (1 cassette; 4-track; 30 min.)
A19 Bear. Narr. Toby Tarnow. Talking Books. Toronto: CNIB, 1978. (1 cassette; 4-track; 2 hr., 45 min.)
Bear. Narr. Frances Pohl. Vancouver: Crane Memorial Library, Univ. of British Columbia, n.d. (3 cassettes.)
A20 Joanne: The Last Days of a Modern Marriage. Narr. Mleen Seaton. Talking Books. Toronto: CNIB, 1978. (1 cassette; 4-track; 4 hr., 30 min.)
A21 Sarah Bastard's Notebook. Narr. Toby Ciglen. Talking Books. Toronto: CNIB, 1978. (1 cassette; 4-track; 5 hr., 30 min.)
A22 The Glassy Sea. Narr. Billie Mae Richards. Talking Books. Toronto: CNIB, 1979. (2 cassettes; 4-track; 6 hr., 10 mm.)
The Glassy Sea. Narr. Billie Mae Richards. Talking Books. Toronto: CNIB, 1980. (2-track; 5 cassettes; 7 hr., 30min.)
The Glassy Sea. Narr. Sharon Amslow. Vancouver: Crane Memorial Library, Univ. of British Columbia, [c. 1980]. (4 cassettes.)
A23 The Honeyman Festival. Narr. Valerie Elia. Talking Books. Toronto: CNIB, 1981. (1 cassette; 4-track; 4 hr., 40 min.)
A24 Lunatic Villas. Narr. Doris Petrie. Talking Books. Toronto: CN1B, 1981. (2 cassettes; 4-track; 9hr., 10 min.)
Lunatic Villas. Narr. Doris Petrie. Talking Books. Toronto: CNIB, 1982. (2-track; 7 cassettes; 10 hr., 30 min.)
A25 My Name Is Not Odessa Yarker. Narr. Doris Petrie. Talking Books. Toronto: CNIB, 1982. (1 cassette;4-track; 26 min.)
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001001007
Record: 452- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Children's books
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- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Children's books
Wengle, Annette (compiler)
A10 Adventure at Moon Bay Towers. Illus. Patricia Cupples. Toronto: Clarke, Irwin, 1974. [31 pp.]
A11 My Name Is Not Odessa Yarker. Illus. Lazlo Gal. Toronto: Kids Can, 1977. [32 pp.]
My Name Is Not Odessa Yarker. Braille ed. 1 vol. Toronto: CNIB, 1984.
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001001003
Record: 453- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Criticism
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- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Criticism
Wengle, Annette (compiler)
A12 "A Study of the English-Canadian Novel Since 1939." M.A. Thesis McGill 1957. 139 pp.
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
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Record: 454- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Editorial work
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- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Editorial work
Wengle, Annette (compiler)
A14 Feature editor. The Silhouette [McMaster Univ.], Sept. 1953-March 1954.
A15 Associate editor. The Silhouette [McMaster Univ.], Sept. 1954-March 1955.
A16 Editorial assistant. The McMaster Muse, 62, No. 1 (Spring 1953).
A17 Editor. The Muse [McMaster Univ.], 63, No.1 (March 1954)-Muse [McMaster Univ.], 64, No. 1 (1955).
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001001006
Record: 455- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Manuscripts
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Manuscripts
Wengle, Annette (compiler)
A26 The Marian Engel Archives, William Ready Division, Archives and Research Collections, Mills Memorial Library, McMaster University, Hamilton, Ontario
The Marian Engel Archive is described in a published guide compiled by K. E. Garay (C2).
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001001008
Record: 456- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Miscellaneous
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Miscellaneous
Wengle, Annette (compiler)
A13 Engel, Marian, and J.A. Kraulis. The Islands of Canada. Edmonton: Hurtig, 1981. 128 pp.
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001001005
Record: 457- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Novels
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Novels
Wengle, Annette (compiler)
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A1 No Clouds of Glory. Don Mills, Ont.: Longmans, 1968. 181 pp.
No Clouds of Glory. New York: Harcourt, Brace & World, 1968. 181 pp.
Sarah Bastard's Notebook. Don Mills, Ont.: PaperJacks, 1974. 181 pp.
A2 The Honeyman Festival. Anansi Fiction, No. 13. Toronto: House of Anansi, 1970. 131 pp.
The Honeyman Festival. New York: St. Martin's, 1972.131 pp.
The Honeyman Festival. Braille ed. 3 vols. Toronto: CNIB, 1978.
The Honeyman Festival. Introd. Audrey Thomas. Markham, Ont.: Penguin, 1986. i-iv, 170 pp.
A3 Monodromos. Anansi Fiction, No.27. Toronto: House of Anansi, 1973. 250 pp.
One Way Street. Don Mills, Ont.: PaperJacks, 1974. 250 pp.
One Way Street. London: Hamish Hamilton, 1975. 250 pp.
One Way Street. Braille ed. 5 vols. Stockport, Eng.: National Library for the Blind, 1976.
A4 Joanne: The Last Days of a Modern Marriage. Don Mills, Ont.: PaperJacks, 1975. 134 pp.
See B347.
A5 Bear. New York: Atheneum, 1976. 141 pp.
Bear. Toronto: McClelland and Stewart, 1976. 141 pp.
Bear. London: Routledge & Kegan Paul, 1977. 141 pp.
Bear. Toronto: Seal, 1977.167 pp.
Bear. Braille ed. 3 vols. Toronto: CNIB, 1978. Bjornen. Trans. Britt Arenander. Stockholm, Sweden: FbrfattarFSrlaget, 1981. 164 pp.
Bear. New Canadian Library, No. 172. Toronto: McClelland and Stewart, 1984. 141 pp.
Bear. L'ours. Trans. Paule Noyart. Montreal: Quinze, 1984. 141 pp.
A6 The Glassy Sea. Toronto: McClelland and Stewart, 1978. 167 pp.
The Glassy Sea. New York: St. Martin's, 1979. 167 pp.
The Glassy Sea. Toronto: Seal, 1979. 164 pp.
The Glassy Sea. Braille ed. 4 vols. Toronto: CNIB, 1981.
The Glassy Sea. Markham, Ont.: Penguin, 1987. 167 pp.
A7 Lunatic Villas. Toronto: McClelland and Stewart, 1981. 251 pp.
The Year of the Child. New York: St. Martin's, 1981. 251 pp.
Lunatic Villas. Toronto: Seal, 1982. 251 pp.
Lunatic Villas. New Canadian Library, No. 189. Toronto: McClelland and Stewart, 1986. 251 pp.
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001001001
Record: 458- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Short stories
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Books (novels, short stories, children's books, criticism, and miscellaneous), editorial work, audio-visual material, and manuscripts; Short stories
Wengle, Annette (compiler)
A8 Inside the Easter Egg. Anansi Fiction, No. 35. Toronto: House of Anansi, 1975. 172 pp.
Inside the Easter Egg. Braille ed. 4 vols. Toronto: CNIB, 1977.
Includes "Amaryllis" (B7), "Bicycle Story" (B12), "Break No Hearts This Christmas" (see B352), "The Fall of the House That Jack Built," "Marshallene at Work" (see B348), "Home Thoughts from Abroad" (see B344), "I See Something, It Sees Me" (B11), "Inside the Easter Egg" (B10), "Marshallene on Rape," "Meredith and the Lousy Latin Lover" (B17), "Mina and Clare," "Nationalism" (see B345), "Only God, My Dear" (B8), "Ruth," "The Salt Mines" (B16), "Tents for the Gandy Dancers" (see B343), "Transformations" (B15), "Sublet," and "What Do Lovers Do?".
A9 The Tattooed Woman. Preface Timothy Findley. Introd. Marian Engel. Penguin Short Fiction. Markham, Ont.: Penguin, 1985. vii-ix, xi-xiv, 192 pp.
Includes "Anita's Dance" (B26), "Banana Flies" (B29), "The Confession Tree," "Could I Have Found a Better Love Than You? Notes on the Life of Miss Iris Terryberry with Excerpts from the Terryberry Garden Perennial Catalogue" (B32), "The Country Doctor," "Feet: A Christmas Story for Grown-Ups" (B27), "Gemini, Gemino" (see B359), "In the Sun" (B34), "The Last Wife" (B19), "The Life of Bernard Orge" (see B356), "Madame Hortonsia, Equilibriste" (B21), "Share and Share Alike," "The Smell of Sulphur" (B30), "The Tattooed Woman" (B33), "There from Here," and "Two Rosemary Road, Toronto."
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001001002
Record: 459- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Short stories
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Short stories
Wengle, Annette (compiler)
Note: When an item is reprinted in one of Engel's books, this fact is noted in the entry through the following abbreviations:
The Honeyman Festival .......................... HF
Inside the Easter Egg ......................... IEE
The Islands of Canada .......................... IC
Joanne: The Last Days of a Modern Marriage .. J:LDM
Lunatic Villas ................................. LV
The Tattooed Woman ............................. TW
B1 "A Summer's Tale." Seventeen, July 1952, pp. 74, 94-95. Signed: Marion [sic] Ruth Passmore.
B2 "Al." Seventeen, Jan. 1953, pp. 76, 99-101. Signed: Marian Passmore.
B3 "Mouse: A Sad Story." The Silhouette [McMaster Univ.]. "Muse Page," 20 Nov. 1953, p.5. Signed: M. Passmore.
B4 "Crow Moon." The Muse [McMaster Univ.], 63, No. 1 (March 1954), 28-30, 32-35. Signed: Marian Passmore.
B5 "Berkeley Brew." The Silhouette [McMaster Univ.]. "Muse Page," 3 Dec. 1954, p.4. Signed: Marian Passmore.
B6 "Triolet." Muse [McMaster Univ.], 64, No. 1 (1955), 9-11. Signed: Marian Passmore.
B7 "Amaryllis." In Fourteen Stories High: Best Canadian Stories of 1971. Ed. David Helwig and Tom Marshall. Ottawa: Oberon, 1971, pp. 103-11. IEE (revised). See B339.
B8 "Too Many Parts." Chatelaine, Oct. 1971, pp. 44, 96, 98, 101-02. IEE (revised -- "Only God, My Dear").
B9 "A Girl of Reputation:' Chatelaine, Oct. 1972, pp. 52, 100-03.
B10 "Girl in a Blue Shirtwaist." Chatelaine, Feb. 1974, 34-35, 59-62. IEE (revised -- "Inside the Easter Egg").
B11 "I See Something It Sees Me." The Fiddlehead, No.101 (Spring 1974), pp.3-5. IEE (revised -- "I See Something, It Sees Me").
B12 "Moment of Truth." Chatelaine, July 1974, pp.22-23, 40-42. IEE (revised -- "Bicycle Story").
B13 "The Santa Claus Syndrome." Chatelaine, Dec. 1974, pp. 36-37, 83-84.
B14 "Atlas and Gazeteer of the West China Shore: Working Notes for a Novel." Queen's Quarterly, 82 (Spring 1975), 92-95.
B15 "Transformations." Chatelaine, Oct. 1975, pp. 66-67,115-18. IEE (revised).
B16 "The Salt Mines." Ontario Review, No.3 (Fall-Winter 1975-76), pp. 5-11. IEE (revised).
B17 "Meredith and the Lousy Latin Lover." Chatelaine, Jan. 1976, pp. 22-23, 71-74. IEE (revised).
B18 "The Three Christmases." Weekend Magazine, 25 Dec. 1976, pp. 12-14.
B19 "The Last Happy Wife." Chatelaine, March 1977, pp.43, 64, 66. TW (revised -- "The Last Wife").
B20 "Forbesy." Chatelaine, Sept. 1977, pp.53, 76-78, 80-81.
B21 "Madame Hortensia, Equilibriste." Saturday Night, Sept. 1977, pp.46-50. TW (revised).
B22 "Taped." The University of Windsor Review, 13, No. 1 (Fall-Winter 1977), 78-81.
B23 "Family Allowance." Weekend Magazine: Summer Fiction Issue, 17 June 1978, pp.34-36. LV (revised, expanded -- Ch.ii).
B24 "Father Instinct." Chatelaine, Aug. 1979, pp. 32-33, 48, 50, 52. LV (expanded -- Ch. iv).
B25 "Hob Selkie's Christmas." Chatelaine, Dec. 1980, pp. 58-59,128,130, 133, 134, 136.
B26 "Anita's Dance." Chatelaine, Nov. 1981, pp. 66-67,240, 242. TW (revised).
B27 "Feet: A Story for Christmas." Quest, Dec. 1981, pp.44-45, 46, 48. TW (revised -- "Feet: A Christmas Story for Grown-Ups").
B28 "Blue Glass & Flowers." In 83: Best Canadian Stories. Ed. David Helwig and Sandra Martin. Ottawa: Oberon, 1983, pp. 59-68.
B29 "Banana Flies." In Women and Words: The Anthology/Les Femmes et les Mots: Une Anthologie. Ed. West Coast Editorial Collective. Madeira Park, B.C.: Harbour, 1984, pp.262-64. TW (revised).
B30 "The Smell of Sulphur." Room of One's Own, [Special Issue on Marian Engel], 9, No.2 (June 1984), 79-91. TW (revised). See B357.
B31 "Sophie, 1990." Room of One's Own, [Special Issue on Marian Engel], 9, No.2 (June 1984), 75-78.
B32 "Under the Hill: Notes on the Life of Miss Iris Terryberry with Excerpts from the Terryberry Garden Perennial Catalogue." Room of One's Own, [Special Issue on Marian Engel], 9, No.2 (June 1984), 60-74. TW (revised -- "Could I Have Found a Better Love Than You? Notes on the Life of Miss Iris Terryberry with Excerpts from the Terryberry Garden Perennial Catalogue").
B33 "The Tattooed Woman." Ethos, 1, No.4 (Summer 1985), 59-61. TW (revised). See B351.
B34 "In the Sun." Saturday Night, Aug. 1985, p.41. TW (revised).
B35 "Arthur and the Seven Stars." Queen's Quarterly, 93 (Spring 1986), 99-104.
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001002001
Record: 460- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Excerpts
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Excerpts
Wengle, Annette (compiler)
B36 "The Honeyman Festival." The Canadian Forum, Nov.-Dec. 1970, pp.286-88. HF (revised -- Ch.i).
B37 "What's Bothering Joanne?". Redbook. "The Redbook Novel," June 1975, pp.141-63. J:LDM (revised, expanded).
B38 "Vinnie Palmer and the Habit of Love." Chatelaine. "Chatelaine Fiction Excerpt," April 1981, pp.54-55, 159-60, 162, 164, 166. LV (revised, expanded -- Ch.vi).
B39 "Treasure Islands: Canada Has a Multitude to Savor." Illus. J.A. Kraulis. Today Magazine [The Toronto Star]. "Options: A Weekly Section for Your Personal Life," 29 Aug. 1981, pp. 19-20. IC (revised, expanded -- Introduction).
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001002002
Record: 461- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Articles
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Articles
Wengle, Annette (compiler)
B40 "The Postman." The Canadian Girl, 20 April 1947, p. 128. Signed: Marian Passmore.
B41 "March." The Canadian Girl, 1 June 1947, p. 176. Signed: Marian Passmore.
B42 "Rain." The Canadian Girl, 21 Dec. 1947, p. 408. Signed: Marian Passmore.
B43 "Sarnia vs. Beck." The Canadian Girl, 18 Jan. 1948, p. 24. Signed: Marian Passmore.
B44 "Pure Paradise." The Canadian Girl, 7 March 1948, p. 80. Signed: Marian Passmore.
B45 "The Drawing Room." The Canadian Girl, 18 April 1948, p. 128. Signed: Marian Passmore.
B46 "Lift Up Your Hearts!". The Canadian Girl, 6 June 1948, p. 184. Signed: Marian Passmore.
B47 "Lost and Found." The Canadian Girl, 30 Jan. 1949, p. 40. Signed: Marian Passmore.
B48 "Striving." The Canadian Girl, 7 Aug. 1949, p.256. Signed: Marian Passmore.
B49 "Country Landscape." The Canadian Girl, 25 Sept. 1949, p. 312. Signed: Marian Passmore.
B50 "After the First Snow." The Canadian Girl, 16 April 1950, p. 128. Signed: Marian Passmore.
B51 "Partners in Silence." The Canadian Girl, 28 July 1950, p. 240. Signed: Marian Passmore.
B52 "Canadiana." The Canadian Girl, 3 Sept. 1950, p. 288. Signed: Marian Passmore.
B53 "June Families." The Canadian Girl, 22 Oct. 1950, p. 344. Signed: Marian Passmore.
B54 "Expedition." The Canadian Girl, 24 Dec. 1950, p. 416. Signed: Marian Passmore.
B55 "Discovery." The Canadian Girl, 4 Feb. 1951, p.40. Signed: Marian Passmore.
B56 "Colour Scheme." The Canadian Girl, 18 Feb. 1951, p. 56. Signed: Marian Passmore.
B57 "Sixteen for Christmas." The Canadian Girl, 29 April 1951, p. 136. Signed: Marian Passmore.
B58 "Prisms." The Canadian Girl, 12 Aug. 1951, p. 256. Signed: Marian Passmore.
B59 "Three, Three the Rivals." The Canadian Girl, 16 Sept. 1951, p. 296. Signed: Marian Passmore.
B60 "On Poets and Peasants." The Canadian Girl, 21 Oct. 1951, p. 336. Signed: Marian Passmore.
B61 "Morning Comes Early." The Canadian Girl, 16 Dec. 1951, p. 400. Signed: Marian Passmore.
B62 "Coffee." The Canadian Girl, 13 Jan. 1952, p.16. Signed: Marian Passmore.
B63 "Hills." The Canadian Girl, 17 Feb. 1952, p. 56. Signed: Marian Passmore.
B64 "Half Way Up and Half Way Down." The Canadian Girl, 20 April 1952, p. 128. Signed: Marian Passmore.
B65 "The Frosh Talk Back." The Silhouette [McMaster Univ.], 10 Oct. 1952, p. 3. Signed: Marian Passmore.
B66 "Spotlight." The Silhouette [McMaster Univ.], 17 Oct. 1952, p. 3. Signed: Marian Passmore.
B67 "Spotlight." The Silhouette [McMaster Univ.], 14 Nov. 1952, p. 3. Signed: Marian Passmore.
B68 "Spotlight." The Silhouette [McMaster Univ.], 28 Nov. 1952, p. 3. Signed: Marian Passmore.
B69 "Have Some Tea." The Silhouette [McMaster Univ.], 5 Dec. 1952, p. 5. Signed: Marian Passmore.
B70 "Spotlight." The Silhouette [McMaster Univ.], 5 Dec. 1952, p. 3. Signed: Marian Passmore.
B71 "Spotlight." The Silhouette [McMaster Univ.], 12 Dec. 1952, p. 3. Signed: Marian Passmore.
B72 "Spotlight." The Silhouette [McMaster Univ.], 16 Jan. 1953, p. 3. Signed: Marian Passmore.
B73 "Spotlight." The Silhouette [McMaster Univ.], 23 Jan. 1953, p. 3. Signed: Marian Passmore.
B74 "Spotlight." The Silhouette [McMaster Univ.], 30 Jan. 1953, p. 3. Signed: Marian Passmore.
B75 "Spotlight." The Silhouette [McMaster Univ.], 13 Feb. 1953, p. 3. Signed: Marian Passmore.
B76 "The Pigeon Hole." The Silhouette [McMaster Univ.], 25 Sept. 1953, p. 3. Signed: Marian Passmore.
B77 "The Pigeon Hole." The Silhouette [McMaster Univ.], 2 Oct. 1953, p. 3. Signed: Marian Passmore.
B78 "The Pigeon Hole." The Silhouette [McMaster Univ.], 9 Oct. 1953, p. 3. Signed: Marian Passmore.
B79 "Fall and Folly." The Silhouette [McMaster Univ.], 30 Oct. 1953, p.3. Signed: Marian Passmore.
B80 "Spotlight." The Silhouette [McMaster Univ.], 6 Nov. 1953, p. 3. Signed: Marian Passmore.
B81 "Hither Muses." Editorial. The Silhouette [McMaster Univ.], 19 Feb. 1954, p. 8. Signed: M.R.P.
B82 "Sackcloth and Ashes." Editorial. The Silhouette [McMaster Univ.], 24 Sept. 1954,p. 8. Signed: M.R.P.
B83 "Guts but No Glory." Editorial. The Silhouette [McMaster Univ.], 1 Oct. 1954, p. 8. Signed: M.R.P.
B84 "We Thank Thee." Editorial. The Silhouette [McMaster Univ.], 8 Oct. 1954, p. 2. Signed: M.R.P.
B85 "Pen Is Mighty Mighty." Editorial. The Silhouette [McMaster Univ.], 5 Nov. 1954, p. 10. Signed: M.R.P.
B86 "The Sun Always Shines." Editorial. The Silhouette [McMaster Univ.], 5 Nov. 1954, p. 2. Signed: M.R.P.
B87 "A Saving Faith ..." Editorial. The Silhouette [McMaster Univ.], 12 Nov. 1954, p. 2. Signed: M.R.P.
B88 "Wilder's Play Six Days Away." The Silhouette [McMaster Univ.], 19 Nov. 1954, p. 1. Signed: Marian Passmore.
B89 "Contests and Hacks." Editorial. The Silhouette [McMaster Univ.], 26 Nov. 1954, p. 2. Signed: M.R.P.
B90 "Spotlight." The Silhouette [McMaster Univ.], 10 Dec. 1954, p. 3. Signed: Marian Passmore.
B91 "Verb. Sap." Editorial. The Silhouette [McMaster Univ.], 10 Dec. 1954, p. 2. Signed: M.R.P.
B92 "Art Is Long ..." Editorial. The Silhouette [McMaster Univ.], 14 Jan. 1955, p. 2. Signed: M.R.P.
B93 "Delinda Est Chicago! Ashmore, Vichert, Granted 52-51 Victory by Audience." The Silhouette [McMaster Univ.], 14 Jan. 1955, p. 1. Signed: Marian Passmore.
B94 "I Rise in Flames." Editorial. The Silhouette [McMaster Univ.], 21 Jan. 1955, p. 2. Signed: M.R.P.
B95 "Spotlight." The Silhouette [McMaster Univ.], 21 Jan. 1955, p. 3. Signed: Marian Passmore.
B96 "Mudlarks Arise!". Editorial. The Silhouette [McMaster Univ.], 4 Feb. 1955, p. 2. Signed: M.R.P.
B97 "Thespians Write." Editorial. The Silhouette [McMaster Univ.], 11 Feb. 1955, p. 6. Signed: M.R.P.
B98 "Vox Populi." Editorial. The Silhouette [McMaster Univ.], 4 March 1955, p. 2. Signed: M.R.P.
B99 "Innocent Ontario." Venture: The Traveller's World [New York], 5, No.4 (May 1968), 73, 74, 76.
B100 Untitled. In The Barn: A Vanishing Landmark in North America. By Eric Arthur and Dudley Witney. Toronto: McClelland and Stewart, 1972, p.26.
B101 "The Passionate George Sand." Chatelaine, Sept. 1972, pp. 56, 57, 77-79.
B102 "The Power of Lists." Financial Post Magazine [The Financial Post] [Toronto], 9 Sept. 1972, p. 7.
B103 "Fighting Boredom in Cyprus." Maclean's, Oct. 1972, pp.46, 68, 70, 72, 74, 76, 78, 80.
B104 "Under the Cyprus Tree." Maclean's, Dec. 1972, pp. 77-78.
B105 "Housework Gives Me the Crazies." Chatelaine, Oct. 1973, pp. 34, 83-84, 86. Rpt. in The Role of Woman in Canadian Literature. Ed. and introd. Elizabeth McCullough. Themes in Canadian Literature. Toronto: Macmillan, 1975, pp. 91-101.
B106 "A Canadian Booklist -- Fiction in English." Creative Literature in Canada Symposium, Hart House, Univ. of Toronto, Toronto. 7-8 March 1974. Printed in Creative Literature in Canada Symposium. Toronto: Ontario Ministry of Colleges and Universities/Univ. of Toronto Press, 1974, pp. 54-56.
B107 "Canadian Writing Today." Creative Literature in Canada Symposium, Hart House, Univ. of Toronto, Toronto. 7-8 March 1974. Printed in Creative Literature in Canada Symposium. Toronto: Ontario Ministry of Colleges and Universities/Univ. of Toronto Press, 1974, pp. 2-9.
B108 "Writers of Canada Unite." The New York Times Book Review, 17 March 1974, p. 47.
B109 "The Problem: Our Authors Are Being Ripped Off. The Solution: Make Readers Pay for Their Library Books." Maclean's, June 1974, pp. 44-45.
B110 "Pauline McGibbon: The Woman Behind All Those 'First Woman' Jobs." Chatelaine, Oct. 1974, pp. 46-47, 88-91.
B111 "Off to the Pub." The Great Canadian Beer Book. Ed. Gerald Donaldson and Gerald Lampert. Toronto: McClelland and Stewart, 1975, pp. 26-27.
B112 "It's the Grit. Laurence Is Unforgettable Because She Is Us." The Globe and Mad [Toronto], 19 April 1975, p. 37. Rpt. (abridged) in Margaret Laurence: The Writer and Her Critics. Ed. William New. Critical Views on Canadian Writers, No.10. Toronto: McGraw-Hill Ryerson, 1977, pp. 219-21.
B113 "A Blocked Intestine." Journal of Canadian Studies, [The State of English Language Publishing in Canada], 10 (May 1975), 84-85.
B114 "The Woman as Storyteller." Communique, [Women in Arts in Canada], No.8 (May/mai 1975), pp. 6-7, 44-45.
B115 "CACUL Copyright: Copyright and Book Importation Panel: Discussion." Sidney Smith Hall, Univ. of Toronto, Toronto. 14 June 1975. Printed in Canadian Library Journal, 33 (April 1976), 106. Engel comments after the panel discussion.
B116 "CACUL Copyright Workshop: Panel Discussion and Public Lending Right." Sidney Smith Hall, Univ. of Toronto, Toronto. 14 June 1975. Printed in Canadian Library Journal, 33 (April 1976), 93-99. Engel was on a panel with Roy C. Sharp, Rudolph C. Ellsworth, A.A. Keyes, and George Piternick.
B117 "The Girl from Glat [sic]: Memories of a Town That's Been Wiped Off the Map." Weekend Magazine, 26 July 1975, pp. 6-7.
B118 "'Do You Use Real People in Your Fiction?' Marian Engel." Saturday Night, Nov. 1975, p.41.
B119 "Speaking Out: The Business of Writing." Axiom: Atlantic Canada's Magazine, 2, No.6 (Sept.-Oct. 1976), 23.
B120 "Off en est la Litterature Anglo-Canadienne?". Liberte, 19, Nos.4-5 [Nos. 112-113], (juil.-oct. 1977), 67-72.
B121 Panel member. The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary. 17 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, pp. 121-23.
B122 Contributor. The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary. 18 Feb. 1978. Printed ("Discussion") in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, pp. 148-49.
B123 "Two Women, Two Kids and a Boat." Chatelaine, April 1978, pp. 37-38, 113-14, 116.
B124 "Steps to the Mythic: The Diviners and A Bird in the House." Journal of Canadian Studies, [Margaret Laurence Issue], 13, No. 3 (Fall 1978), 72-74.
B125 Engle, Marian, June Callwood, Thelma McCormack, and Eleanor Wachtel. "What Price Censorship?". Branching Out, 6, No. 4 (1979), 5-8. A reply to Eleanor Wachtel's "Law: Our Newest Battleground: Pornography." Branching Out, 6, No. 3 (1979), 33, 35-37.
B126 "Writing High." Chatelaine, Jan. 1979, pp.39, 96-97.
B127 "Life in Edmonton: A Dignified Quiet." The Globe and Mail. "The Mermaid Inn," 24 March 1979, p. 6.
B128 "Christmas Remembered: Marian Engel." Chatelaine, Dec. 1979, pp. 42, 78-79.
B129 "It's Not Easy to Sell 'Serious' Books." The Globe and Mail [Toronto]. "The Mermaid Inn," 15 Nov. 1980, p. 6.
B130 "Getting Hit with a Horse Bun Gave Me the Horrors." Today Magazine [The Toronto Star]. "Beginnings," 2 May 1981, p. 3. Tape recorded by Doris Cowan.
B131 "Mrs. Nice Politely Rests in a Shoebox." The Toronto Star. "Being Here," 28 Nov. 1981, p. F1.
B132 "Loneliness Always Attacks at Twilight." The Toronto Star. "Being Here," 5 Dec. 1981, p. H1.
B133 "Must We Breed Men for War?". The Toronto Star. "Being Here," 12 Dec. 1981, p. H1.
B134 "Cruel Sea Turns Kids into Adults." The Toronto Star. "Being Here," 19 Dec. 1981, p. H1.
B135 "Dowdiest Duds Help Women Writer's Creative Juices Flow." The Toronto Star. "Being Here," 26 Dec. 1981, p. H1.
B136 "Working with Dennis Lee." Descant, [Dennis Lee Special Issue], No.39 [14, No.1] (Winter 1982), pp.29-30. Rpt. in Tasks of Passion: Dennis Lee at Mid-Career. Ed. Karen Mulhallen, Donna Bennett, and Russell Brown. Toronto: Descant, 1982, pp. 29-30.
B137 "Learning to Love the Kitchen." The Toronto Star. "Being Here," 2 Jan. 1982, p. H1.
B138 "Only Irish Peace Will Wed My Heart and Heritage." The Toronto Star. "Being Here," 9 Jan. 1982, p. H1.
B139 "Toronto's Stuffed with Delicacies I Can't Spell." The Toronto Star. "Being Here," 16 Jan. 1982, p. H3.
B140 "I Believe the Male Wimps Are Just Mommy's Boys." The Toronto Star. "Being Here," 23 Jan. 1982, p. H1.
B141 "Feel thy Photos Are Their Reality." The Toronto Star. "Being Here," 30 Jan. 1982, p. F1.
B142 "Maggie's Role Was All Wrong." The Toronto Star. "Being Here," 6 Feb. 1982, p. H1.
B143 "Nearing Fifty with Feeling." The Toronto Star. "Being Here," 13 Feb. 1982, p. H1.
B144 "Shangri-La Warms My Winter Soul." The Toronto Star. "Being Here," 20 Feb. 1982, p. H1.
B145 "Elderly 'Babies' a Human Tragedy." The Toronto Star. "Being Here," 27 Feb. 1982, p. H1.
B146 "We Put Solidarity to Music." The Toronto Star. "Being Here," 6 March 1982, p. F1.
B147 "Opting for the Right to End Life." Maclean's. "Podium," 8 March 1982, p. 8.
B148 "Mad Winter Leaves Parents Bellowing at City Hall." The Toronto Star. "Being Here," 13 March 1982, p. G1.
B149 "Education: Just Who's in Charge?". The Toronto Star. "Being Here," 20 March 1982, p. G1.
B150 "History of The Writers' Union of Canada." Canadian Writing Newsbulletin [The Writers' Union of Canada], 1, No. 1 (Spring 1982), 4-5.
B151 "Spring's Swinging in Like the Hips on a Belly Dancer." The Toronto Star. "Being Here," 27 March 1982, p. G1.
B152 "Spadina Avenue." Toronto Life, April 1982, pp. 44-45, 70-71.
B153 "Keep Mind Open about the Retarded" The Toronto Star. "Being Here," 3 April 1982, p. G1.
B154 "Leave Vent for Fantasy of All Kinds." The Toronto Star. "Being Here," 10 April 1982, p. F1.
B155 "Celebrate! It's Novelist Virginia Woolfs Centenary." The Toronto Star. "Being Here," 17 April 1982, p. G1.
B156 "The Rewards of Artistry Are Elusive." The Toronto Star. "Being Here," 24 April 1982, p. G1.
B157 "It Takes Almost as Much Time to Keep a Bad House." The Toronto Star. "Being Here," 1 May 1982, p. F1.
B158 "Don't Talk to Me about Sensitivity." The Toronto Star. "Being Here," 8 May 1982, p. H1.
B159 "I Ought to Scrub the Kitchen." The Toronto Star. "Being Here," 15 May 1982, p. G1.
B160 "Monogamy Is a Long Hard Hitch." The Toronto Star. "Being Here," 22 May 1982, p. H1.
B161 "Unreality Overdoses Don't Help." The Toronto Star. "Being Here," 29 May 1982, p. H1.
B162 "Thumb Is Mostly Green." The Toronto Star. "Being Here," 5 June 1982, p. H1
B163 "Sore in Spirit She's Soothed by a Massage." The Toronto Star. "Being Here," 12 June 1982, p. H1.
B164 "Nostalgia Binge Leads Her to the Empire." The Toronto Star. "Being Here," 19 June 1982, p.H1.
B165 "Depression Needn't Be a Disaster." The Toronto Star. "Being Here," 26 June 1982, p. H1.
B166 "Readers' Letters Prove 'There Are People Out There.'" The Toronto Star. "Being Here," 3 July 1982, p. H1.
B167 "O Romance! An Open Letter to Joy Carroll." The Toronto Star. "Being Here," 10 July 1982, p. H1. Engel responds to Joy Carroll's letter (C90).
B168 "A Trip to Paris Will Console Me." The Toronto Star. "Being Here," 17 July 1982, p. H1.
B169 "She'll Wear Sneakers to Fight Bell." The Toronto Star. "Being Here," 24 July 1982, p. H1.
B170 "We Have to Stay Out of the Doom-and-Gloom Club." The Toronto Star. "Being Here," 31 July 1982, p. H1.
B171 "I Have Too Much Bad Taste to Ever Be a Lady." The Toronto Star. "Being Here," 7 Aug. 1982, p. H1.
B172 "Some of Us Just Weigh a Little More." The Toronto Star. "Being Here," 14 Aug. 1982, p. H1.
B173 "Women Won't Be So Easily Packaged This Time." The Toronto Star. "Being Here," 21 Aug. 1982, p. F1.
B174 "I Wouldn't Have Survived a Home Birth." The Toronto Star. "Being Here," 28 Aug. 1982, p. F1.
B175 "There's an Intensity in the Toronto Air; I Like It!". The Toronto Star, "Being Here," 4 Sept. 1982, p. El.
B176 "Luckily, Ability Is Granted Regardless of Sex." The Toronto Star. "Being Here," 11 Sept. 1982, p. H1.
B177 "Freedoms Are Lost if Personal Risks Aren't Taken." The Toronto Star. "Being Here," 18 Sept. 1982, p. H1.
B178 "Awful Thing Is, I've Turned Out to Be Mrs. Nice." The Toronto Star. "Being Here," 25 Sept. 1982, p. H1.
B179 Panel member. "Creativity and Child Bearing, Child-Raising." Women and Words/Les Femmes et les mots, Univ. of British Columbia, Vancouver. 1 July 1983. Printed ("Twins and a Typewriter") in In the Feminine: Women and Words/Les Femmes et les roots: Conference Proceedings 1983. Ed. Ann Dybikowski, Victoria Freeman, Daphne Marlatt, Barbara Pulling, and Betsy Warland. Edmonton: Longspoon, 1985, pp. 78-80. The other panel members were Joan Haggerty and Libby Scheier. Engel's contribution is printed separately in the conference proceedings.
B180 "The Struggle for Canadian Materials" In Citizen Participation in Library Decision-Making: The Toronto Experience. Ed. John Marshall. Dalhousie University School of Library Service, No.1. Metuchen, N.J.: Scarecrow, 1984, pp. 199-210.
B181 "Why and How and Why Not and What Is This, about Starting Another Novel ..." In Canadian Writers in 1984. Ed. W.H. New. Vancouver: Univ. of British Columbia Press, 1984, pp. 98-104. Rpt. in Canadian Literature, [25th Anniversary Issue], No.100 (Spring 1984), pp. 98-104.
B182 "A Plea to Stop Turning the Knobs on Writers' Closets." The Globe and Mail [Toronto], 17 Nov. 1984, Literary Supp., p. 1.
B183 "The Doctor's Dilemma." Letter. Books in Canada, Dec. 1984, p. 32.
B184 "That's Entertainment" Canadian Writing Newsbulletin [The Writers' Union of Canada], 2, No. 2 (Winter 1984), 5.
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001002003
Record: 462- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Book reviews
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Book reviews
Wengle, Annette (compiler)
B185 "The Book I Got for Christmas." Rev. of Leaven of Malice, by Robertson Davies. The Silhouette [McMaster Univ.], 14 Jan. 1955, p. 3. Signed: Marian Passmore.
B186 "Like Planked Steak." Rev. of Mother Is a Country: A Popular Fantasy, by Kathrin Perutz. The New York Times Book Review, 10 March 1968, pp. 30-31.
B187 "A Loose Grip on the Utterly Chic." Rev. of Les Belles Images, by Simone de Beauvoir. The Globe Magazine [The Globe and Mail] [Toronto], 6 April 1968, p. 14.
B188 "A Hellion Rampant Vaults the Language Wall." Rev. of The Swallower Swallowed, by Rejean Ducharme. The Globe Magazine [The Globe and Mail] [Toronto], 27 April 1968, p. 17.
B189 "Wasp from Caribou." Rev. of Cocksure, by Mordecai Richler. The New York Times Book Review, 5 May 1968, pp. 37.
B190 "Comic-Strip Heroine." Rev. of Melinda, by Gaia Servadio, trans. L.I~ Conrad. The New York Times Book Review, 9 June 1968, p. 36.
B191 "Turn In and Opt Out." Rev. of The Pursuit of Happiness, by Thomas Rogers. The New York Times Book Review, 28 July 1968, p. 29.
B192 "After Acid, the Bag Is Prophecy." Rev. of The Bag, by Sol Yurick. The Globe Magazine [The Globe and Mail] [Toronto], 17 Aug. 1968, p. 16.
B193 "Galloping Fun and Poetry to Plagiarize." Rev. of Enderby Outside, by Anthony Burgess. The Globe Magazine [The Globe and Mail] [Toronto], 31 Aug. 1968, p. 14.
B194 "Toujours L'Amour." Rev. of Feminine Plural, by Benoite Groult and Flora Groult, trans. Walter B. Michaels and June Wilson. The New York Times Book Review, 15 Sept. 1968, p. 44.
B195 "Schatz and the Dybbuk." Rev. of The Dance of Genghis Cohn, by Romain Gary. The New York Times Book Review, 6 Oct. 1968, p. 5.
B196 "A Little Wallowing That Appeals." Rev. of Love and Work, by Reynolds Price. The Globe Magazine [The Globe and Mail] [Toronto], 19 Oct. 1968, p. 26.
B197 "Youngsters with Cain's Mark." Rev. of The Blacking Factory and Pennsylvania Gothic, by Wilfred Sheed. The Globe Magazine [The Globe and Mail] [Toronto], 2 Nov. 1968, p. 32.
B198 Rev. of The Girls, by Henry de Montherlant, trans. Terence Kilmartin, introd. Peter Quennell. The New York Times Book Review, 19 Jan. 1969, p.4.
B199 "Giddy Cream with Social Data." Rev. of Melinda, by Gaia Servadio. The Globe Magazine [The Globe and Mail] [Toronto], 8 March 1969, p.19.
B200 Rev. of A Compass Error, by Sybille Bedford. The New York Times Book Review, 23 March 1969, pp. 38-39.
B200A "The Year of the Novel Brings a Grab-Bag." Rev. of Bullet Park, by John Cleever; Mr. Bridge, by Evan S. Connell, Jr.; Make Yourself an Earthquake, by Mark Dintenfass; The Butterfly Plague, by Timothy Findley; and Terra Amata, by J.M.G. LeClezio. Toronto Daily Star, 19 April 1969, p. 30.
B201 "The Girl Who Escaped from Manawaka Is at the Core of Margaret Laurence's New Novel." Rev. of The Fire Dwellers, by Margaret Laurence. Saturday Night, May 1969, pp. 38-39. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Contemporary Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley. Vol. III. Detroit: Gale, 1975, 278.
B202 "Robinson Crusoe's Isolation Is Our Own." Rev. of Friday or The Other Island, by Michel Tournier, trans. Norman Denny. Toronto Dady Star, 10 May 1969, p. 27.
B203 "Nabokov, the False Messiah." Rev. of Ada or Ardor: A Family Chronicle, by Vladimir Nabokov. The Telegram [Toronto], 17 May 1969, Sec. Three, p. 5.
B204 Rev. of The Butterfly Plague, by Timothy Findley. The Telegram [Toronto], 31 May 1969, Sec. Three, p. 5.
B205 "The Ghetto in the Depression." Rev. of The Book of Numbers, by Robert Deane Pharr. The Telegram [Toronto], 7 June 1969, Sec. Three, p. 5.
B206 "It's Hard to Cope in Mad, Mod England." Rev. of Come Back If It Doesn't Get Better, by Penelope Gilliat. The New York Times Book Review, 15 June 1969, p.33. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Contemporary Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley and Barbara Harte. Vol. II. Detroit: Gale, 1975, 160.
B207 Rev. of What's It Like Out?, by Penelope Gilliat. The Telegram [Toronto], 28 June 1969, Sec. Three, p. 5.
B208 "'Certain of the People Happen to Be Black and Certain of Them ... White.'" Rev. of Hue and Cry, by James Alan McPherson. The Telegram [Toronto], 19 July 1969, Sec. Three, p. 5.
B209 "Mr. Bridge's World." Rev. of Mr. Bridge, by Evan S. Connell, Jr. The Telegram [Toronto], 2 Aug. 1969, Sec. Three, p. 5.
B210 "Her Personality Holds the Book Together." Rev. of An Unfinished Woman: A Memoir, by Lillian Hellman. The Telegram [Toronto], 6 Sept. 1969, Sec. Three, p. 5.
B211 "Shaw Was Long in Limbo." Rev. of Shaw: An Autobiography, ed. Stanley Weintraub. The Telegram [Toronto], 13 Sept. 1969, Sec. Three, p.5.
B212 "Lessing: 'Organizing, pointing, leading ...'" Rev. of The Four-Gated City, by Doris Lessing. The Telegram [Toronto], 27 Sept. 1969, Sec. Three, p. 5.
B213 "Sam and Gerry's Clients Were Really Something Special." Rev. of The Fame Game, by Rona Jaffe. The New York Times Book Review, 28 Sept. 1969, p. 54.
B214 "The Fabric of Life in Singer's World." Rev. of The Estate, by Isaac B. Singer. The Telegram [Toronto], 13 Oct. 1969, Sec. Three, p. 6.
B215 "Heralding Joyous New Themes." Rev. of The French Lieutenant's Woman, by John Fowles. The Telegram [Toronto], 15 Oct. 1969, Sec. Three, p. 5.
B216 "The more we lie to ourselves, the more we believe in mysteries." Rev. of The Rules of Chaos, by Stephen Vizinczey. The Telegram [Toronto], 25 Oct. 1969, Sec. Three, p. 5.
B217 "'Magic-marker graffiti and morels in a wood.'" Rev. of Civic Square, by Scott Symonds. The Telegram [Toronto], 3 Jan. 1970, Sec. Three, p. 5.
B218 "Fleshing Out Three Historical Witches." Rev. of The Witches, by Francoise Mallet-Joris. The Telegram [Toronto], 31 Jan. 1970, p. 53.
B219 "Dreams Came True Before They Were Dreamed." Rev. of Touching, by Gwen Davis. The New York Times Book Review, 7 Feb. 1971, pp. 6-7, 25.
B220 "'No Different from Americans, Only More Mediocre.'" Rev. of Canada and the Canadians, by George Woodcock, illus. Ingeborg Woodcock. The New York Times Book Review, 14 Feb. 1971, p.2.
B221 "The In Quest." Rev. of The Pursuit of Intoxication, by Andrew I. Malcolm. Books in Canada, 1, No. 1 (July 1971), 11, 15.
B222 "His Analyst Knew Why He Had Died." Rev. of The Raft of the Medusa, by Vercors [Jean Bruller], trans. Audrey C. Foote. The New York Times Book Review, 24 Oct. 1971, p. 53.
B223 "Poor Rich Kid." Rev. of The Latchkey Kid, by June Bhatia. Books in Canada, 1, No.4 (Nov. 1971), 27.
B224 "They Sell Horses, Don't They?". Rev. of Eaton's Catalogue 1901 and Eaton's Catalogue Spring and Summer 1927. Books in Canada, 1, No.5 (1 Dec. 1971), 8.
B225 "From a Lost Colony." Rev. of Daughters of the Moon, by Joan Haggerty. Books in Canada, 1, No. 7 (Jan. 1972), 16.
B225 "Oh Come All Ye Faithful." Rev. of The Storming of the Mind, by Robert Hunter. Books in Canada, 1, No. 8 (Feb. 1972), 9.
B227 "In Sex Style Is Everything. And This Old Smoothie Just Hasn't Got It." Rev. of The Ewings, by John O'Hara. The Globe and Mail [Toronto], 4 March 1972, p. 32.
B228 "Now Who'll Play the Bawd?". Rev. of The Taxi, by Violette Leduc. The Globe and Mail [Toronto], 22 July 1972, p. 27.
B229 Rev. of The Ogre, by Michel Tournier, trans. Barbara Bray. The New York Times Book Review, 3 Sept. 1972, pp.7, 14. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Contemporary Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley and Phyllis Carmel Mendelson. Vol.vi. Detroit: Gale, 1976, 537.
B230 "Other Voices Other Rimes." Rev. of 40 Women Poets of Canada, ed. Dorothy Livesay and Seymour Mayne. Books in Canada, 1, No. 11 {Oct. 1972), 32-33.
B231 "Rich and Wilful and Nabokov. Like a Drop of Dye in a Glass of Water." Rev. of Transparent Things, by Vladimir Nabokov. The Globe and Mail [Toronto], 2 Dec. 1972, p. 35.
B232 "Key Stones." Rev. of Medieval Structure: The Gothic Vault, by James H. Acland. Books in Canada, 2, No. 1 (Jan.-Feb. 1973), 35-36.
B233 "A Chemical Unconscious as Refreshing as a New Fizzy Pop." Rev. of 62: A Model Kit, by Julio Cortazar. The Globe and Mail [Toronto], 20 Jan. 1973, p. 29.
B234 "It's Not How Women Ought to Live, Just How They Have To." Rev. of The Summer Before the Dark, by Doris Lessing. The Globe and Mail [Toronto], 12 May 1973, p. 35.
B235 "Lily Wanted to Be Liberated from Her Perfect Life." Rev. of A Perfect Stranger, by Firth Haring. The New York Times Book Review, 20 May 1973, p. 24.
B236 Rev. of I Once Knew an Indian Woman, by Ebbitt Cutler, illus. Bruce Johnson. The New York Times Book Review, 3 June 1973, p. 8.
B237 "Strange and Parlous. Rich in Fugues Mental and Musical." Rev. of The Antiphonary, by Hubert Aquin, trans. Alan Brown. The Globe and Mail [Toronto], 23 June 1973, p. 31.
B238 "A Five-Year Session with Death." Rev. of After, by Robert Anderson. The New York Times Book Review, 22 July 1973, p. 16.
B239 "Such Was the Happy Garden State." Rev. of Garden State, by Julian Moynahan. The New York Times Book Review, 2 Sept. 1973, p. 4.
B240 "Now Let the Indians Write." Rev. of We the Wilderness, by Thomas York. The Globe and Mail [Toronto], 22 Sept. 1973, p. 32.
B241 "Marvellous. Oates Is Good." Rev. of Do with Me What You Will, by Joyce Carol Oates. The Globe and Mail [Toronto], 3 Nov. 1973, p. 31.
B242 Rev. of Love Affair: A Memoir of Jackson Pollock, by Ruth Kligman. The New York Times Book Review, 17 March 1974, pp. 30, 34.
B243 "Hoarse, Hip and Authentic:' Rev. of Enormous Changes at the Last Minute, by Grace Paley. The Globe and Mail [Toronto], 30 March 1974, p. 34.
B244 Rev. of Scars on the Soul, by Fran~oise Sagan, trans. Joanna Kilmartin. The New York Times Book Review, 14 April 1974, pp.6-7. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Contemporary Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley and Phyllis Carmel Mendelson. Vol. VI. Detroit: Gale, 1976, 481.
B245 "Margaret Laurence: Her New Book Divines Women's Truths." Rev. of The Diviners, by Margaret Laurence. Chatelaine. "Encounter," May 1974, p. 25.
B246 "Lost Children and Found Kingdoms." Rev. of Arabel's Raven, by Joan Aiken, illus. Quentin Blake; The Kingdom and the Cave, by Joan Aiken, illus. Victor Ambrus; Midnight Is a Place, by Joan Aiken; and The Mooncusser's Daughter, by Joan Aiken, illus. Arvis Stewart, music John Sebastian Brown. The New York Times Book Review, 5 May 1974, p. 18.
B247 Rev. of Riverrun, by Peter Such. The Tamarack Review, No. 63 (Oct. 1974), pp. 84-85.
B248 "Women Also Have Dark Hearts." Rev. of The Goddess and Other Women, by Joyce Carol Oates. The New York Times Book Review, 24 Nov. 1974, pp.7, 10. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Contemporary Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Carolyn Riley and Phyllis Carmel Mendelson. Vol. vt. Detroit: Gale, 1976, 372.
B249 "Funky. Now Listen for an Un-Hip Brautigan." Rev. of Across from the Floral Park, by Kent Thompson. The Globe and Mail [Toronto], 11 Jan. 1975, p.33.
B250 Rev. of Crackpot, by Adele Wiseman. The Tamarack Review, No. 65 (March 1975), pp. 91-93.
B251 "Old Territory on a New Axis." Rev. of Hers, by A. Alvarez. The Globe and Mail [Toronto], 15 March 1975, p. 31.
B252 "Warm Surfaces with Undertones of Lessing and Guignol." Rev. of The Bottle Factory Outing, by Beryl Bainbridge. The Globe and Mail [Toronto], 21 June 1975, p. 35.
B253 "Brilliant and Touching. One Kind of Loving." Rev. of Lesbian Images, by Jane Rule. The Globe and Mail [Toronto], 12 July 1975, p. 34.
B254 "Murdoch Presents This Year's Man -- With No Room for Slips." Rev. of A Word Child, by Iris Murdoch. The Globe and Mail [Toronto], 9 Aug. 1975, p. 29.
B255 "For Lovers of Cats and Ashes-of-Roses Scented Prose." Rev. of Looking Backwards, by Colette, trans. David Levay. The Globe and Mail [Toronto], 23 Aug. 1975, p.28.
B256 "On the Fine Edge of Things." Rev. of A Father's Love, by Jacques Chessex, trans. Martin Sokolinsky; and The Underground Game, by Francoise Mallet-Joris, trans. Herma Briffault. The New York Times Book Review, 24 Aug. 1975, pp.16, 20. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Contemporary Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski. Vol. XI. Detroit: Gale, 1979, 356.
B257 "Bright, Vivid: A Warm Document of a Girl's Search for Herself in the Horrible Thirties." Rev. of It's All Free on the Outside, by Ann Henry. The Globe and Mail [Toronto], 8 Nov. 1975, p. 35.
B258 "Deeper and Deeper into the American Malaise. This Time One of Oates' Finest Pieces." Rev. of The Assassins, by Joyce Carol Oates. The Globe and Mail [Toronto], 13 Dec. 1975, p. 39.
B259 "Slavery, Mad Dogs, Chins Aquiver. Delicious." Rev. of Sweet William, by Beryl Bainbridge. The Globe and Mail [Toronto], 27 Dec. 1975, p. 23.
B260 "Rewarding and Beautiful. Long Stories Gorgeously and Probably Painfully Written." Rev. of The Lost Salt Gift of Blood, by Alistair MacLeod. The Globe and Mail [Toronto], 28 Feb. 1976, p. 35.
B261 "Such Style and Pace, Unreeling Like a Film." Rev. of Travesty, by John Hawkes. The Globe and Mail [Toronto], 15 May 1976, p. 39.
B262 "Scars and Blight Redeemed by Eloquence." Rev. of Blood Ties, by David Adams Richards. The Globe and Mail [Toronto], 12 June 1976, p.35.
B263 "She Who Laughs Last ..." Rev. of Lady Oracle, by Margaret Atwood. The Tamarack Review, [Louis Dudek Issue], No.69 (Summer 1976), pp. 94-96.
B264 "Only French Knots and Feather Stitching." Rev. of The Takeover, by Muriel Spark. The Globe and Mail [Toronto], 4 Sept. 1976, p. 33.
B265 "Middlewatch: The Prose Is Lush, the Chronicle Moving, but Even Dreams Need a Tougher Context." Rev. of Middlewatch, by Susan Kerslake. The Globe and Mail [Toronto], 9 Oct. 1976, p. 43.
B266 "A Fringe of Leaves: The Opening Speculates on Whether Mrs. Roxborough Is a Lady. Happily for Us She Is Not." Rev. of A Fringe of Leaves, by Patrick White. The Globe and Mail [Toronto], 5 March 1977, p. 40.
B267 Rev. of Click. Flashback. Wallpaper. Trips, by Beverley Allinson and Barbara O'Kelly. Emergency Librarian, 4, No.4 (March-April 1977), 19.
B268 "Two Ladies Not for Burning." Rev. of The Malahat Review, [Margaret Atwood: A Symposium], No.41 (Jan. 1977); and Canadian Fiction Magazine, [A Special Issue on Jane Rule], No. 23 (Autumn 1976). Books in Canada, May 1977, pp.14, 16.
B269 Rev. of Everywoman, by Gina Luria and Virginia Tucker. The Globe and Mail [Toronto], 7 May 1977, p. 39.
B270 "Big, Disturbing, Awesome: Wiebe's Sentences Roll Out of the Great Canvases of Riers Dream." Rev. of The Scorched Wood People, by Rudy Wiebe. The Globe and Mail [Toronto], 26 Nov. 1977, p. 40.
B271 Rev. of Injury Time, by Beryl Bainbridge. The Globe and Mail [Toronto], 17 Dec. 1977, p. 38.
B272 "The Italians: The Adjustment to Sexuality Is Not the Whole Metaphor of Adjustment to the Land. Not Slick, Just Honest Small Press Work." Rev. of The Italians, by F.G. Paci. The Globe and Mail [Toronto], 8 July 1978, p. 35.
B273 "True Confections or How My Family Arranged My Marriage." Rev. of True Confections, by Sondra Gotlieb. The Globe and Mail [Toronto], 21 Oct. 1978, p.40.
B274 "The Dollmaker." Rev. of Old Woman at Play, by Adele Wiseman. Branching Out, [Special Fiction Issue], 6, No. 3 (1979), 42.
B275 Rev. of Burger's Daughter, by Nadine Gordimer. The Globe and Mail [Toronto], 15 Sept. 1979, p. 43.
B276 "Shikasta: A New Doris Lessing Asks Big Questions: What Is Happening Here, Now, Why?". Rev. of Shikasta, vol.1 of Canopus in Argos: Archives, by Doris Lessing. The Globe and Mail [Toronto], 15 Dec. 1979, p. E9.
B277 "In Fiction, Tom Thomson Remains a Shadowy Figure, Devoid of Personality." Rev. of Shorelines, by Roy MacGregor. The Globe and Mail [Toronto], 10 May 1980, p. E16.
B278 "The Marriage Between Zones Three, Four and Five: A Real Pleasure. But There's No Point Asking What Lessing's Lessons Are." Rev. of The Marriage Between Zones Three, Four and Five, vol.11 of Canopus in Argos: Archives, by Doris Lessing. The Globe and Mail [Toronto], 14 June 1980, p. E13.
B279 "Contract with the World: Characters Bound Together by More Than Sexuality: They Are Artists and Canadians?' Rev. of Contract with the World, by Jane Rule. The Globe and Mail [Toronto], 4 Oct. 1980, p. E15.
B280 "Life on the Knife-Edge between Love and Death." Rev. of A Sentimental Education, by Joyce Carol Oates. The Globe and Mail [Toronto], 28 Feb. 1981, p. E15.
B281 "Loitering with Intent: Slender but Rich. Muriel Spark, Portraitist, Is Up to Her Usual Merciless Self." Rev. of Loitering with Intent, by Muriel Spark. The Globe and Mail [Toronto], 15 Aug. 1981, p. E13.
B282 "Gentlemen Emigrants: The English in a Country that Was Bigger, in Their Mind's Eyes, Than the Yorkshire Hunt: All There, All Theirs." Rev. of Gentlemen Emigrants: From the British Public Schools to the Canadian Frontier, by Patrick A. Dunae. The Globe and Mail [Toronto], 21 Nov. 1981, p. E17.
B283 "Lively Books of Short Stories." Rev. of Real Mothers, by Audrey Thomas; and Death Suite, by Leon Rooke. The Toronto Star, 27 Dec. 1981, p. H11.
B284 "Some Charming Stories from the Ottawa Valley." Rev. of Some of the Stories I Told You Were True, by Joan Finnegan. The Toronto Star, 17 Jan. 1982, p.F11.
B285 "Grim Vision of Life on the Miramichi." Rev. of Lives of Short Duration, by David Adams Richards. The Toronto Star, 28 Feb. 1982, p. C11.
B286 "Two New Writers Tackle the Problem of Cultural Conflict." Rev. of Black Madonna, by Frank Paci; and Coming to Grips with Lucy, by George McWhirter. The Toronto Star, 18 April 1982, p. D11.
B287 "Roy's Journalism Is Special." Rev. of The Fragile Lights of Earth, by Gabrielle Roy, trans. Alan Brown. The Toronto Star, 25 April 1982, p.G10.
B288 "Funny Short Stories from Cottage Country?" Rev. of Cottage Gothic, by Martin Avery; and The Prose of Life, ed. Kathy Mezei. The Toronto Star, 6 June 1982, p. G10.
B289 "Brilliant Stories." Rev. of You Can't Keep a Good Woman Down, by Alice Walker. The Toronto Star, 18 July 1982, p. A12.
B290 "Beautifully Observed Tale of Nova Scotia." Rev. of Quilt, by Donna E. Smyth; and The Seam Allowance, by Laura C. Johnson with Robert E. Johnson. The Toronto Star, 14 Aug. 1982, p. F10.
B291 "Angry Author's Outpourings:' Rev. of Kicking Against the Pricks, by John Metcalf; and Third Impressions, ed. John Metcalf. The Toronto Star, 10 Oct. 1982, p. B7.
B292 "The Seeds of Rebellion in Quebec." Rev. of The Dalhousie Journals, vol. III, ed. Marjory Whitelaw. The Toronto Star, 1 Jan. 1983, p. C11.
B293 "Never Overlook Small Publishers." Rev. of Displaced Persons, by Fred Bonnie; The Education of J.J. Pass, by T.F. Rigelhoff; and All for Margarita and Other Stories, by David Wansley. The Toronto Star, 23 April 1983, p. F10.
B294 "Some Magic by Murdoch." Rev. of The Philosopher's Pupil, by Iris Murdoch. The Toronto Star, 28 May 1983, p. H12.
B295 "Novel, Short Stories from West Draw on Rich Lode from Childhood." Rev. of How Hug a Stone, by Daphne Marlatt; and Night Glances, by Robert Currie. The Toronto Star, 14 Aug. 1983, p. G9.
B296 "M.F.IC Fisher: A Quiet and Remarkable Talent." Rev. of Sister Age, by M.F.K. Fisher. The Toronto Star, 10 Sept. 1983, p. F8.
B297 "A True Rake's Progress on the Lam from Toronto." Rev. of Sirens and Graces, by Lawrence Garber. The Toronto Star, 24 Sept. 1983, p. G6.
B298 "Writing of Light." Rev. of The Salt Line, by Elizabeth Spencer. The Globe and Mail [Toronto], 11 Feb. 1984, p. E19.
B299 "A Poetic Output Truly Worthy of Envy." Rev. of Syntax, by Robin Blaser; The Weather, by Lorna Crozier; Hope's Half Life, by Raymond Filip; The Grand Duke of Moscow's Favorite Solo, by Robert Finch; Public Fantasy: The Maggie T. Poems, by Marty Gervais; Knowledge Never Knew, by Steve McCaffery; Migration of Light, by Brian Henderson; Untitled Subjects, by Richard Howard; The Toronto Collection, by Leslie Nutting; and Wilderness Images, by John Simmons. The Globe and Mail [Toronto], 5 May 1984, p. E21.
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001002004
Record: 463- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Poems (signed: Marian Passmore)
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
p. 34-36 (3 p.) - Links:
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Poems (signed: Marian Passmore)
Wengle, Annette (compiler)
B300 "Fantasy." The Canadian Girl, 22 June 1947, p. 200.
B301 "Cavendish at Twilight." The Canadian Girl, 7 March 1948, p. 80.
B302 "Tide." The Canadian Girl, 6 June 1948, p. 184.
B303 "Last Summer." The Canadian Girl, 9 Jan. 1949, p. 16.
B304 "Spring Comes Early." The Canadian Girl, 26 June 1949, p. 208.
B305 "The Cause." The Canadian Girl, 24 July 1949, p. 240.
B306 "The Art Student" The Canadian Girl, 25 Sept. 1949, p. 312.
B307 "Homecoming." The Canadian Girl, 16 April 1950, p. 128.
B308 "The Dawning." The Canadian Girl, 28 May 1950, p. 176.
B309 "Advent of Spring." The Canadian Girl, 28 July 1950, pp. 239-40.
B310 "Chinese Mood." The Canadian Girl, 27 Aug. 1950, p. 280.
B311 "Quarrel." The Canadian Girl, 24 Sept. 1950, p.312.
B312 "End of Summer." The Canadian Girl, 31 Dec. 1950, p. 424.
B313 "The Worm." The Canadian Girl, 25 Feb. 1951, p.64.
B314 "Plaid." The Canadian Girl, 25 March 1951, p.96.
B315 "Song for 'Swan Lake.'" The Canadian Girl, 5 Aug. 1951, p. 248.
B316 "The Dryad." The Canadian Girl, 9 Dec. 1951, p. 392.
B317 "Author." The Canadian Girl, 3 Feb. 1952, p. 40.
B318 "Uphill." The Canadian Girl, 2 March 1952, p. 72.
B319 "Apres le Ballet." The Silhouette [McMaster Univ.], 13 Feb. 1953, p.4. Rpt. in The McMaster Muse, 62, No. 1, (Spring 1953), 20.
B320 "Any April." The Silhouette [McMaster Univ.]. "Muse Page," 20 Nov. 1953, p. 4. Signed: M.R.P.
B321 "The Holly Bears the Crown." The Silhouette [McMaster Univ.], 10 Dec. 1954, p. 2.
B322 "Art Gallery." Muse [McMaster Univ.], 64, No. 1 (1955), 27. Signed: M.P.
B323 "Dawn in Mariposa." Muse [McMaster Univ.], 64, No. 1 (1955), 36.
B324 "Disc Jockey." Muse [McMaster Univ.], 64, No. 1 (1955), 17. Signed: M.R.P.
B325 "[I think the soul is greater than the sky...]." Muse [McMaster Univ.], 64, No. 1 (1955), 21.
B326 "Ode to Mr. Haddows' Gown Discarded Christmas, 1954: (now replaced by a new and shining example of academic haberdashery which is NOT THE SAME)." The Silhouette [McMaster Univ.], 28 Jan. 1955, p. 2. Signed: camaranthus.
B327 "Oakville." In Thumbprints: An Anthology of Hitchhiking Poems. Ed. Doug Fetherling. Toronto: Peter Martin, 1969, p. 62. Signed: Marian Engel.
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Copyright of this work is the property of Toronto, Ontario : ECW Press and its content may not be copied without the copyright holder's expressed written permission except for the print or download capabilities of the retrieval software used for access. This content is intended solely for the use of the individual user.
Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001002005
Record: 464- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Reprinted anthology contributions: A selection
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
p. 36 (1 p.) - Links:
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Reprinted anthology contributions: A selection
Wengle, Annette (compiler)
B328 "Dawn at Mariposa." In Pine's the Canadian Tree. Ed. and foreword Dorothy S. Murphy. Hamilton, Ont.: The Tower Poetry Society, 1975, p.95. Signed: Marian Passmore Engel.
B329 The Honeyman Festival (excerpt). In Women in Canadian Literature. Ed. and introd. M.G. Hesse. Ottawa: Borealis, 1976, pp. 154-55.
B330 "Amaryllis." The Anthology Anthology: A Selection from 30 Years of CBC Radio's "Anthology". Ed. and preface Robert Weaver. Foreword Alice Munro. Toronto: Macmillan/CBC Enterprises/Les Entreprises Radio-Canada, 1984, pp. 157-65.
B331 "Under the Hill." In 85: Best Canadian Short Stories. Ed. David Helwig and Sandra Martin. Ottawa: Oberon, 1985, pp. 177-93.
B332 "Sophie, 1990." In Tesseracts. Ed. Judith Merril. Victoria: Porcepic, 1985, pp. 173-76.
B333 "Anita's Dance." In The Oxford Book of Canadian Short Stories in English. Ed. and introds. Robert Weaver and Margaret Atwood. Toronto: Oxford Univ. Press, 1986, pp. 255-62.
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001002006
Record: 465- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Miscellaneous works
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
p. 36 (1 p.) - Links:
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Miscellaneous works
Wengle, Annette (compiler)
B334 "Cry, the Beloved Country." Rev. of Cry, the Beloved Country, dir. Zoltan Korda. The Silhouette [McMaster Univ.], 20 Feb. 1953, p. 2. Signed: Marian Passmore.
B335 Panel member. Writers' Union of Canada: panel discussion. Faculty of Library Science, Univ. of Toronto, Toronto. 14 Feb. 1974. (Cassette tape; approx. 1 hr.; held in Faculty of Library and Information Science, Univ. of Toronto.) Panel discussion moderated by Professor Dolores Donnelly. Participants: Fred Bodsworth, Marian Engel, Graeme Gibson, and Gwendolyn MacEwen.
B336 Letter. NeWest Review, April 1979, p. 14. Engel replies to Wilfred Watson's review of The Glassy Sea (D103).
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001002007
Record: 466- Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Audio-visual material
- Other Title:
- Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 1: Works By Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 13-38)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP1
p. 36-38 (3 p.) - Links:
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Source: Part 1: Works By Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 13-38
Part 1 Works by Marian Engel (nee: Passmore); Contributions to periodicals and books (short stories, excerpts, articles, book reviews, poems, and reprinted anthology contributions: A selection), miscellaneous works, and audio-visual material; Audio-visual material
Wengle, Annette (compiler)
B337 "Who Is Ottoline?". CBC Tuesday Night. Prod. Geraldine Sherman. CBC Radio, 18 Oct. 1968. The cast includes Gillie Fenwick, Mary Savidge, Ruth Springford, and Chris Wiggins.
B338 Engel, Marian, and Ed Reid. Hosts. Matinee. CBC Radio, 20 Feb. 1969. The panel consists of Clive Denton, Marian Engel, Gordon Inglis, and Ed Reid.
B339 "Amaryllis." Anthology. CBC Radio, 7 March 1970. See IEE and B7.
B340 "There Is a Sweetness Also in Decay." Narr. Aileen Seaton. Anthology. CBC Radio, 11 July 1970.
B341 "Say It with Food." Narr. Amelia Hall. Anthology. CBC Radio, 26 Dec. 1970.
B342 "An Olive Branch." Narr. Aileen Seaton. Anthology. CBC Radio, 23 Jan. 1971.
B343 "Tents for the Gandy Dancers." Narr. Aileen Seaton. Anthology. CBC Radio, 19 Aug. 1972. See IEE.
B344 "Ruth and Rosebud." Narr. Mona O'Hearn. Anthology. CBC Radio, 10 Feb. 1973. See IEE ("Home Thoughts from Abroad").
B345 "Nationalism" Narr. Warren Wilson. Anthology. CBC Radio, 18 Aug. 1973. See IEE.
B346 Rev. of Balzac, by V.S. Pritchett. The Arts in Review. CBC Radio, 13 Oct. 1973.
B347 "Joanne: The Last Days of a Modern Marriage." Narr. Ann Anglin. This Country in the Morning. Host Peter Gzowski. CBC Radio, 17 Sept.-14 Dec. 1973. (Approx. 60 episodes; 4 min. each.) A serialized novel written for radio. See J:LDM.
B348 "The Book of Life: God's Album." Narr. Marilyn Lightstone. Anthology. CBC Radio, 30 March 1974. See IEE ("Marshallene at Work").
B349 Panel member. Sunday Supplement. CBC Radio, 8 Dec. 1974. The panel discusses the life, times, and books of Lucy Maude Montgomery.
B350 Rev. of The Gaiety of Gables, by Anthony Adamson; and Ontario Towns, by Ken MacPherson and Douglas Richardson, illus. Ralph Greenhill. The Arts in Review. CBC Radio, 21 Dec. 1974.
B351 "The Tattooed Woman." Narr. Aileen Seaton. Anthology. CBC Radio, 8 Nov. 1975. See TW and B33.
B352 "The Last Christmas." Narr. Corinne Langston. Anthology. CBC Radio, 20 Dec. 1975. See IEE ("Break No Hearts This Christmas").
B353 Bear (excerpt.) Narr. Marian Engel. Gzowski on FM. CBC-FM Radio, 13 May 1976. The program also includes an interview (C179).
B354 "Women Writers in Canada." Ideas: Artists on Artists. CBC Radio, 3 March 1977. [W.A.C. Bennett Library, Simon Fraser Univ.; phonotape.]
B355 Engel, Marian, and Laura McArtbur. "Resolved That Legal Abortion Is a Woman's Right." The Great Debate. Moderator Pierre Berton. CHCH TV [Hamilton], March 1982.
B356 "The Life of Bernard Orge." Narr. Jayne Eastwood. Anthology. cBc Radio, 30 April 1983. See TW.
B357 "The Smell of Sulphur." Narr. Maxine Miller. Anthology. CBC Radio, 5 Nov. 1983. See TW and B30.
B358 "The Glassy Sea." Narr. Judith Mabey. Prod. Teresa Atterbury. Book Time. CBC Radio, 27, 28, 29 Feb. 1984, 1, 2, 5, 6, 7, 8, 9, 12, 13, 14, 15, 16 March 1984. (15 episodes; approx. 5 min. each.)
B359 "Gemini Gemino." Narr. Corinne Langston. Anthology. CBC Radio, 2 March 1985. See TW. This program also includes a tribute to Engel (C144).
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Source: Wengle, Annette (compiler); . Part 1: Works By Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 13-38 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP1.
Item Number: ABCMA07MEP1000007001002008
Record: 467- Title:
- Part 1 Works By Phyllis Webb; Books; Audio-visual material
- Other Title:
- Part 1 Works By Phyllis Webb; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 1: Works By Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP1
p. 394-395 (2 p.) - Links:
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
Part 1 Works By Phyllis Webb; Books; Audio-visual material
Frey, Cecelia (compiler)
A15 Five Poets. Interview with Charles Olson, Robert Duncan, Allen Ginsberg, Robert Creeley, and Denise Levertov. Simon Fraser Univ. Media Centre, Burnaby, B.C. (Phonotape; 57 min.)
Phonotape copy made from Sunday Night, CBC Radio, 19 January 1964 (B186).
A16 Phyllis Webb--Readings and Commentary. Recorded by Dorothy Livesay. [1966.] Aural History Department, Victoria Provincial Archives, Victoria, B.C., and Special Collections, Simon Fraser Univ. Library, Burnaby, B.C. (Reel-to-reel; 25 min.)
Includes "Beachcomber," "For Robert Duncan," "The Glass Castle," "In a Garden of the Pitti Palace," "Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You," "Naked Poems: Suite II. [While you were away...], [On the floor your blouse...], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]," "Non Linear: [the yellow chrysanthemums...]," "Poetics Against the Angel of Death," and "'The Time of Man': extrapolations from an article by Dr. Loren Eiseley."
Also includes comments by Webb on the problems of writing poetry.
For printed versions of the above recording see A3 ("Beachcomber," "The Glass Castle," "In a Garden of the Pitti Palace," "Poetics against the Angel of Death," and "'The Time of Man': extrapolations from an article by Dr. Loren Eiseley"), A4 ("Suite I: Moving, And, Tonight, The Bruise, Flies, Your Blouse, You" and "Suite II: [While you were away...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]"), A5 ("Beachcomber," "The Glass Castle," "In a Garden of the Pitti Palace," "Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You," "Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]," "Non Linear: [the yellow chrysanthemums...]," and "'The Time of Man': extrapolations from an article by Dr. Loren Eiseley"), A7 ("The Glass Castle," "Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You," "Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You bought me clarity....]," "Non Linear: [the yellow chrysanthemums...]," "Poetics Against the Angel of Death," and "'The Time of Man': extrapolations from an article by Dr. Loren Eisley"), A9 ("Poetics Against the Angel of Death" and "[the yellow chrysanthemums...]," A10 ("In a Garden of the Pitti Palace"), B46 ("The Glass Castle"), B49 ("In a Garden of the Pitti Palace"), B50 ("'The Time of Man'"), B51 ("Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You"), B52 ("Naked Poems: Suite II. While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]"), B69 ("Poetics against the Angel of Death"), B70 ("[the yellow chrysanthemums...]"), and B138 (Commentary).
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Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
Item Number: ABCMA06PWP1000006006001004
Record: 468- Title:
- Part 1 Works By Phyllis Webb; Books; Manuscripts
- Other Title:
- Part 1 Works By Phyllis Webb; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 1: Works By Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP1
p. 395-397 (3 p.) - Links:
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
Part 1 Works By Phyllis Webb; Books; Manuscripts
Frey, Cecelia (compiler)
A19 Phyllis Webb Literary Papers
National Library of Canada
Ottawa, Ontario
A short list of the contents previously held by University Archives and Special Collections, University of Saskatchewan Library, Saskatoon, Saskatchewan, follows.
Box 1:
Two ts. drafts of Naked Poems and other published and unpublished poems (1963-65); drafts and work sheets of The Sea Is Also a Garden, plus other unpublished or unfinished poems; 2 tss. of The Sea Is Also a Garden; 1 ts. of "...Is Our Distress," plus approximately 17 unpublished poems; tss. and work sheets of approximately 40 published and unpublished poems written during the 1950s; tss. of approximately 88 unpublished and unfinished poems, most of which seem to have been written during the late 1940s and early 1950s; holographic and ts. drafts of unpublished and unfinished poems, most undated, a few written in the 1960s; 1 ts. of In a Green Tree [Even Your Right Eye]; 2 tss. of Even Your Right Eye.
Box 2:
Diary 1963-65 (letters, excerpts, and quotations); published copy of Trio; book reviews by Phyllis Webb; articles by Phyllis Webb; scripts of talks for CBC Radio (1955-64) by Phyllis Webb.
Box 3:
1963 University of British Columbia Conference notes; correspondence 1950-66; material on the Canadian Writers' Conference, July 1955, at Kingston, Ontario; reviews of Phyllis Webb's books; poems by others; photographs of Phyllis Webb and others; tape recording of "Five Poets"--Tape 1 and Tape 2; miscellaneous material.
A short list of the contents previously held by Phyllis Webb, Fulford Harbour, British Columbia, follows.
Drafts of poems and work sheets, 7 files of approximately 630 sheets; notebooks, 5 covering the period 1967-75; mss. and related material, 5 files, includes book reviews and articles, first draft and final ms. of Talking, ms. of Wilson's Bowl, ms. of Selected Poems 1954-1965, correspondence; correspondence regarding readings, anthologies, and magazines (publication); CBC correspondence and scripts, 9 files; miscellaneous--controversies, broadsheets, posters, offprints, magazines, rare little magazines, correspondence, projected articles, clippings, tapes, photos.
A20 Contemporary Literature Collection
Special Collections
Simon Fraser University Library
Burnaby, British Columbia
The Talonbooks Archives--pertaining to Selected Poems 1954-1965. 1 copy hard cover; 4 copies paperback; photocopy of the author's ms.; photocopy of the editor's ms. including the Introduction and an unpublished "Note on the Text"; corrected proofs; paste-up; 3 cover photographs by Mari Berg; 1st edition renumbered without the Introduction for printing of the 2nd edition; blueline of the 2nd edition; correspondence-copies of contracts, 2 letters from Barbara West (Chatelaine) to David Robinson, 2 poems ("Solitary Confinement" and "from The Kropotkin Poems"), 2 photographs of Phyllis Webb, 2 postcards, 13 letters from Phyllis Webb to David Robinson.
A21 John Hulcoop
Department of English
The University of British Columbia
Vancouver, British Columbia
Ts. of Selected Poems 1954-1965 and working file of the ms. including Introduction; ms. of Introduction; correspondence--37 letters and 4 cards from Phyllis Webb to John Hulcoop 1964-81, letters from others to Phyllis Webb, unpublished poems; reworked mss.; copies of contracts.
A22 John Merritt
CBC
Vancouver, British Columbia
Scripts written by Phyllis Webb for CBC Radio.
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Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
Item Number: ABCMA06PWP1000006006001006
Record: 469- Title:
- Part 1 Works By Phyllis Webb; Books; Radio work
- Other Title:
- Part 1 Works By Phyllis Webb; Books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 1: Works By Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP1
p. 395 (1 p.) - Links:
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- Database:
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
Part 1 Works By Phyllis Webb; Books; Radio work
Frey, Cecelia (compiler)
A17 Program Organizer, CBC, 1964-67.
A18 Executive Producer, CBC, 1967-69.
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Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
Item Number: ABCMA06PWP1000006006001005
Record: 470- Title:
- Part 1 Works By Phyllis Webb; Contributions to periodicals and books; Articles
- Other Title:
- Part 1 Works By Phyllis Webb; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 1: Works By Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP1
p. 406-407 (2 p.) - Links:
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
Part 1 Works By Phyllis Webb; Contributions to periodicals and books; Articles
Frey, Cecelia (compiler)
B132 "The Poet and the Publisher." Queen's Quarterly, 61 (Winter 1954-55), 498-512. Rpt. (revised) in Writing in Canada: Proceedings of the Canadian Writers' Conference, Queen's University, 28-31 July, 1955. Ed. George Whalley. Introd. F. R. Scott. Toronto: Macmillan, 1956, pp. 78-89.
See B156.
B133 "Canadian Writers' Conference." The Canadian Forum, Sept. 1955, pp. 127-29.
B134 "Phyllis Webb." In Poet's Choice. Ed. and introd. Paul Engle and Joseph Langland. New York: Dial, 1962, pp. 264-65.
B135 "Phyllis Webb: Naked Poems." In How Do I Love Thee: Sixty Poets of Canada (and Quebec) Select and Introduce Their Favourite Poems from Their Own Work. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1970, p. 70.
B136 "Phyllis Webb's Canada." Maclean's, Oct. 1971, pp. 8-9, 47, 49. Rpt. in Western Windows: A Comparative Anthology of Poetry in British Columbia. Ed. Patricia M. Ellis. Introd. Lionel Kearns. Vancouver: CommCept, 1977, pp. 218-23. Talk. (revised).
B137 "Protest in Paradise." Maclean's, June 1973, pp. 38-39, 73-77.
B138 Commentary. In "Polishing Up the View." Excerpt transcribed Robert Enright. CV/II, 2, No. 4 (Dec. 1976), 14-15. Talk. (revised).
Enright's transcription does not maintain the original order of Webb's commentary (see PW).
B139 [underbar]Douglas Barbour, and Steve Scobie. "Talking the Line: Phyllis Webb in Conversation with Douglas Barbour and Steve Scobie." Writing [David Thompson Univ. Centre], [Special Issue on the Theme of Living Dreaming & Dying with Courage], No. 4 (Winter 1981-82), pp. 22-25.
B140 "On the Line." Writing [David Thompson Univ. Centre], [Special Issue on the Theme of Living Dreaming & Dying with Courage], No. 4 (Winter 1981-82), pp. 21-22. Talk. (revised).
B141 Contributor. "The Muse Figure." Women and Words, Univ. of British Columbia, B.C. 1 July 1983. (Videotape; Video Inn, Vancouver; 90 min.) Printed ("The Muse") in The Raddle Moon [Univ. of Victoria], 1, No. 1 (Dec. 1983), 60-62.
Phyllis Webb and Margaret Atwood gave this workshop.
B142 Panelist. "Creating Alternative Structures: Mentors, Networks, Reading/Writing Support Groups." Women and Words, Univ. of British Columbia, B.C. 1 July 1983. (Videotape; Video Inn, Vancouver; 90 min.)
The panelists were Gay Allison, Mona Fertig, Victoria Freeman, Carol Gordon, Pam Hawthorn, and Phyllis Webb.
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Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
Item Number: ABCMA06PWP1000006006002003
Record: 471- Title:
- Part 1 Works By Phyllis Webb; Contributions to periodicals and books; Audio-visual material
- Other Title:
- Part 1 Works By Phyllis Webb; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 1: Works By Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP1
p. 416-418 (3 p.) - Links:
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
Part 1 Works By Phyllis Webb; Contributions to periodicals and books; Audio-visual material
Frey, Cecelia (compiler)
B275 "Alex." In Canadian Poets 1. Narr. Phyllis Webb. CBC Learning Systems, PR-4, 1966. Broadcast. This Is Robert Fulford. Prod. Geraldine Sherman. CBC Radio, 26 March 1968. See SP, SP:VT, and B57.
B276 "Breaking." In Canadian Poets 1. Narr. Phyllis Webb. CBC Learning Systems, PR-4, 1966.
See SIAG, SP, SP:VT, B44, and B200.
B277 "Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You." In Canadian Poets 1. Narr. Phyllis Webb. CBC Learning Systems, PR-4, 1966.
See NP ("Suite I: Moving, And, Tonight, The Bruise, Flies, Your Blouse, You"), SP ("Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You"), SP:VT, B51, and B194 ("Naked Poems").
B278 "Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]." Canadian Poets 1. Narr. Phyllis Webb. CBC Learning Systems, PR-4, 1966.
See NP ("Suite II: [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]"), SP ("Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]"), SP:VT, B52, and B194 ("Naked Poems").
B279 "Propositions." In Canadian Poets 1. Narr. Phyllis Webb. CBC Learning Systems, PR-4, 1966.
See SIAG, SP, SP:VT, B42, and B177.
B280 "Rilke." In Canadian Poets 1. Narr. Phyllis Webb. CBC Learning Systems, PR-4, 1966. Broadcast. This Is Robert Fulford. Prod. Geraldine Sherman. CBC Radio, 26 March 1968. See SP, WB, SP:VT, B55, and B205.
B281 "Sitting." In Canadian Poets 1. Narr. Phyllis Webb. CBC Learning Systems, PR-4, 1966.
See SIAG.
B282 "'The Time of Man.'" In Canadian Poets 1. Narr. Phyllis Webb. CBC Learning Systems, PR-4, 1966.
See SIAG ("'The Time of Man': extrapolations from an article by Dr. Loren Eiseley"), SP, SP:VT, PW, B50 ("'The Time of Man'"), and B207.
B283 Answer to an Inaudible Question from the Audience about "Wilson's Bowl: Imperfect Sestina." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
B284 "The Days of the Unicorns." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB and B271.
B285 "Eschatology of Spring." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB, SP:VT, and B75 ("Imperfect Sestina: Eschatology of Spring").
B286 "Father." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB, SP:VT, Talk., B87, and B272.
B287 "Field Guide to Snow Crystals." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See SP:VT, Talk., and B91.
B288 "from The Kropotkin Poems." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB.
B289 "Here I Am Reading at the Planetarium." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
B290 Introduction to Wilson's Bowl. In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
B291 "Messages." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See Talk. and B88.
B292 "Metaphysics of Spring." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB, SP:VT, and B78 ("Imperfect Sestina: Metaphysics of Spring").
B293 "Poems of Failure: 1." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB ("Poems of Failure: I-VII"), SP:VT ("Poems of Failure: I-III"), B59 ("Poems of Failure: Preface to the Kropotkin Poems"), and B225 ("Poems of Failure: Seven Sections").
B294 "Solitary Confinement." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
B295 "Spots of Blood." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB and B89.
B296 "Vasarely." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB, SP:VT, Talk., and B79 ("Vasarely: for Ann Richardson").
B297 "Wilson's Bowl: Found Poem." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB and B80.
B298 "Wilson's Bowl: Imperfect Sestina." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB and B76 ("Imperfect Sestina: Imperfect Sestina").
B299 "Wilson's Bowl: In This Place." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB, SP:VT ("In This Place"), and B81 ("Wilson's Bowl: In This Place").
B300 "Wilson's Bowl: She Sings." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB and B82.
B301 "Wilson's Bowl: The Bowl." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB, SP:VT ("The Bowl"), and B85 ("Wilson's Bowl: Wilson's Bowl"), and B270 ("The Bowl").
B302 "Wilson's Bowl: The Place is Where You Find It." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB, SP:VT ("The Place Is Where You Find It"), and B83 ("Wilson's Bowl: The Place is Where You Find It").
B303 "Wilson's Bowl: Twin Masks." In The Coast Is Only a Line: Poetry Readings. Introd. Eli Mandel. Simon Fraser Univ. Art Gallery, Burnaby, B.C. 9 July 1981; held at Simon Fraser Univ. Library. (Audiotape and videotape; colour.)
See WB and B84.
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Copyright of this work is the property of Toronto, Ontario : ECW Press and its content may not be copied without the copyright holder's expressed written permission except for the print or download capabilities of the retrieval software used for access. This content is intended solely for the use of the individual user.
Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
Item Number: ABCMA06PWP1000006006002006
Record: 472- Title:
- Part 1 Works By Phyllis Webb; Contributions to periodicals and books; Poems
- Other Title:
- Part 1 Works By Phyllis Webb; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 1: Works By Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP1
p. 397-403 (7 p.) - Links:
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
Part 1 Works By Phyllis Webb; Contributions to periodicals and books; Poems
Frey, Cecelia (compiler)
Note: When an item is reprinted in one of Webb's books, recordings, or broadsides, this fact is noted in the entry through one of the following abbreviations:
The Bowl .............................Bowl
Even Your Right Eye ..................EYRE
Five Poets .............................FP
For Fyodor .............................FF
In a Garden of the Pitti Palace (and)
A Pang Cantata: Two New Poems ....IGPP
The Lines of the Poet ..................LP
Naked Poems ............................NP
Phyllis Webb--Readings and Commentary...PW
The Sea ls Also a Garden .............SIAG
Selected Poems 1954-1965 ...............SP
Selected Poems: The Vision Tree .....SP:VT
Talking .............................Talk.
Trio: First Poems by Gael Turnbull,
Phyllis Webb, E. W. Mandel .......T:FP
Wilson's Bowl ..........................WB
B1 "Poem." The Cataraqui Review, 1, No. 2 (1951), 32. T:FP (revised--"Patience"); EYRE; SP (revised); SP:VT.
B2 "The Skywriter." The Cataraqui Review, 1, No. 2 (1951), 33. T:FP (revised); EYRE (revised).
See B162.
B3 "Spring?". The Cataraqui Review, 1, No. 2 (1951), 34. T:FP (revised--"To......"); EYRE ("To--").
See B163.
B4 "Involution." Northern Review, 4, No. 3 (Feb.-March 1951), 38.
B5 "Chung Yung." Contemporary Verse, No. 37 (Winter-Spring 1951-52), p. 14. T:FP (revised--"Chung Yung"); SP:VT.
B6 "New Snow." Contemporary Verse, No. 37 (Winter-Spring 1951-52), pp. 12-13.
B7 "Poet." Contemporary Verse, No. 37 (Winter-Spring 1951-52), p. 13. T:FP (revised); SP (revised).
B8 "Is Our Distress." PM Magazine, 1, No. 3 (Feb. 1952), 19. T:FP (revised--"...Is Our Distress"); EYRE (revised--"...is our distress"); SP (revised--"...Is Our Distress").
B9 "'Rabbits Intimidate Her Eyes....'" Contact, 1, No. 2 (March 1952), 2.
B10 "Stories." Contact, 1, No. 2 (March 1952), 2.
B11 "Intuition of a Literary Weekend (For A. E.)." CIV/n, No. 1 [Spring 1952], p. 4.
B12 "New Year Message for J. Alfred Prufrock." CIV/n, No. 1 [Spring 1952], p. 3.
B13 "Necessity: Economics and Otherwise." Contact, 1, No. 3 (May-July 1952), 8.
B14 "Weather Forecast." Contact, 1, No. 3 (May-July 1952), 8.
B15 "Dust into Dust." Contemporary Verse, No. 39 (Fall-Winter 1952), p. 19.
B16 "Messianic." Contemporary Verse, No. 39 (Fall-Winter 1952), pp. 18-19.
B17 "Earth Descending." Forge [McGill Univ.], 1953, pp. 36-37. T:FP (revised); EYRE; SP; SP:VT (revised).
B18 "A Room of One's Own." Forge [McGill Univ.], 1953, p. 30.
B19 "Quick Relief." Contact, 2, No. 2 (Feb.-April 1953), 5.
B20 "Fera." CIV/n, No. 3 [Spring 1953], p. 12.
B21 "Pining." CIV/n, No. 3 [Spring 1953], p. 12. T:FP (revised).
See B241 ("Fate and the Unconscious: Pining").
B22 "Elegy on the Death of Dylan Thomas." CIV/n, No. 4 [Autumn 1953], p. 1. T:FP (revised).
B23 "Standing." Contact, No. 8 (Sept.-Dec. 1953), pp. 4-6. Rpt. (revised) in Artisan, No. 6 (Autumn 1954), pp. 14-17. T:FP [revised--"Standing (For Earle Birney)"]; EYRE (revised--"Standing"); SP [revised--"Standing (for Earle Birney)"].
See B242 ("Fate and the Unconscious: [excerpts from] Standing").
B24 "Sacrament of Spring." Poetry and Poverty [London, Eng.], No. 7 (Winter 1954), pp. 16-17. EYRE (revised); SP (revised).
B25 "The Mind Reader." Contact, No. 10 (March 1954), p. 19. EYRE (revised); SP; SP:VT.
See B160.
B26 "To W. H. Auden." CIV/n, No. 6 [Autumn 1954], p. 6. Rpt. trans. Achilles Gautier ("Lament") in Yang 91 [Belgium], 15, No. 6 (Dec. 1979), 178-79. EYRE (revised); SP (revised); SP:VT (revised).
B27 "Marian Scott." The Fiddlehead, No. 26 (Nov. 1955), p. 22. EYRE (revised); SP:VT.
B28 "Old Woman." The Fiddlehead, No. 26 (Nov. 1955), p. 21. EYRE; SP:VT.
B29 "Moments Are Monuments." Queen's Quarterly, 62 (Winter 1955-56), 553. EYRE (revised); SP (revised).
B30 "The Shape of Prayer." The Fiddlehead, No. 27 (Feb. 1956), p. 5. EYRE; SP.
B31 "The Idiot Birds." The Canadian Forum, Aug. 1956, p. 109.
See B159.
B32 "In Situ." The Canadian Forum, Aug. 1956, p. 109. EYRE (revised--"Two Versions: 1. Poetry 2. In Situ"); SP (revised--"Two Versions: 1. Poetry, 2. In Situ"); SP:VT (revised).
See B274 ("Two Versions: Poetry").
B33 "Poems of Dublin." The Canadian Forum, Sept. 1956, p. 133. EYRE (excerpt--"In Dublin"); SIAG (revised--"Poems of Dublin"); SP; SP:VT.
B34 "Sonnet." Origin, Ser. 1, No. 18 (Fall-Winter 1956), 102.
B35 "Summer." Origin, Ser. 1, No. 18 (Fall-Winter 1956), 103. SIAG (revised); SP.
B36 "Picasso Exhibition: Paris, 1954." Mayfair, Sept. 1957, p. 72a. SIAG (revised); SP:VT.
B37 "Galaxy." In The McGill Chapbook #190. Ed. Leslie L. Kaye. Toronto: Ryerson, 1959, n. pag. SIAG (revised).
See B175.
B38 "Images in Crystal." In The McGill Chapbook #190. Ed. Leslie L. Kaye. Toronto: Ryerson, 1959, n. pag. SIAG (revised); SP:VT.
See B176.
B39 "Ishmael." In The McGill Chapbook #190. Ed. Leslie L. Kaye. Toronto: Ryerson, 1959, n. pag.
See B167.
B40 "A Tall Tale or a Moral Song." In The McGill Chapbook #190. Ed. Leslie L. Kaye. Toronto: Ryerson, 1959, n. pag. SIAG (revised--"A Tall Tale"); SP; SP:VT.
B41 "To a Policeman Guarding the National Assembly." Delta [Montreal], No. 6 (Jan. 1959), p. 11. SIAG (revised).
See B178.
B42 "Propositions." Threshold, 3, No. 1 (Spring 1959), p. 20. Rpt. (revised) in Delta [Montreal], No. 7 (April 1959), p. 27. Rpt. (revised) in Poetry Northwest, 1, No. 4 (Spring-Summer 1960), 33-34. SIAG (revised); SP; SP:VT.
See B177 and B279.
B43 "The Effigy." Poetry Northwest, 1, No. 4 (Spring-Summer 1960), 32-33. SIAG (revised); SP.
B44 "Breaking." Prism, 2, No. 4 (Summer 1961), 33. SIAG; SP; SP:VT (revised).
See B200 and B276.
B45 "Making." Prism, 2, No. 4 (Summer 1961), 40-41. SIAG; SP.
B46 "The Glass Castle." Massachusetts Review, 3, No. 1 (Autumn 1961), III. SIAG (revised); SP; SP:VT.
See PW and B243 ("Fate and the Unconscious: The Glass Castle").
B47 "Mad Gardener to the Sea...." Massachusetts Review, 3, No. 1 (Autumn 1961), 110. SIAG (revised); SP; SP: VT (revised--"Mad Gardener to the Sea").
B48 "The Cats of St. Ives." The Tamarack Review, No. 22 (Winter 1962), p. 50. SIAG.
See B166.
B49 "In a Garden of the Pitti Palace." The Tamarack Review, No. 22 (Winter 1962), p. 49. SIAG; SP; IGPP.
See PW.
B50 "'The Time of Man.'" Delta [Montreal], No. 19 (Oct. 1962), [back cover]. SIAG (revised--"'The Time of Man': extrapolations from an article by Dr. Loren Eiseley"); SP; SP:VT.
See PW, B207 ("'The Time of Man'"), and B282.
B51 "Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You." The Tamarack Review, No. 29 (Autumn 1963), pp. 41-43. NP (revised--"Suite I: Moving, And, Tonight, The Bruise, Flies, Your Blouse, You"); SP (revised--"Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You"); SP:VT (revised).
See PW, B194 ("Naked Poems"), and B277 ("Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You").
B52 "Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]." The Tamarack Review, No. 29 (Autumn 1963), pp. 44-45. NP (revised--"Suite II: [While you were away...], [The sun comes through...], [On the floor your blouse...], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]"); SP (revised--"Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]"); SP:VT (revised).
See PW, B194 ("Naked Poems"), and B278 ("Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse...], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]"). See also the order in B113.
B53 "Continuum." Saturday Night, Feb. 1966, p. 17.
B54 "For Robert Duncan." Saturday Night, July 1966, p. 34.
B55 "Rilke." Island [Toronto], Nos. 7-8 (Last quarter 1966), p. 44. SP (revised); WB; SP:VT.
See B205 and B280.
B56 "The What Is to Be Done Poem." In The New Romans: Candid Canadian Opinions of the U.S. Ed. A. W. Purdy. Edmonton: Hurtig, 1968, pp. 125-26.
B57 "Alex." This Magazine Is About Schools, 2, No. 3 (Summer 1968), p, 64. SP; SP:VT.
See B275.
B58 "Mirror Room in the Albright-Knox." artscanada, No. 25 (Dec. 1968), p. 66.
B59 "Poems of Failure: Preface to the Kropotkin Poems." In Contemporary Poetry of British Columbia. Ed. J. Michael Yates. Vancouver: Sono Nis, 1970, pp. 177-83. WB (revised--"Poems of Failure: I-VII"); SP:VT (revised--"Poems of Failure: I-III").
See B225 ("Poems of Failure: Seven Sections") and B293 ("Poems of Failure: 1").
B60 "From the Kropotkin Poems: Ezra Pound." The Canadian Forum, April-May 1970, p. 30. WB (revised--"Ezra Pound"); SP:VT.
B61 "From the Kropotkin Poems: Kropotkin." The Canadian Forum, April-May 1970, p. 30. WB (revised--"Kropotkin").
B62 "A Question of Questions: 1-5." The Tamarack Review, No. 58 (Summer 1971), pp. 26-31. WB (revised--"A Question of Questions: I-V"); SP:VT (revised, excerpt--"A Question of Questions: I, IV, V").
B63 "For Fyodor." The Capilano Review, 1, No. 1 (Spring 1972), 22-23. WB (revised); SP:VT; FF.
B64 "I Can Call Nothing Love." Chatelaine, Oct. 1972, p. 104. SIAG; SP.
B65 "Antisong." In Mountain Moving Day: Poems by Women. Ed. Elaine Gill. Trumansburg, N.Y.: Crossing, 1973, p. 103.
B66 "From The Kropotkin Poems: Solitary Confinement." In Mountain Moving Day: Poems by Women. Ed. Elaine Gill. Trumansburg, N.Y.: Crossing, 1973, p. 104. WB (revised--"Solitary Confinement").
B67 "From the Kropotkin Poems: Treblinka Gas Chamber." In Mountain Moving Day: Poems by Women. Ed. Elaine Gill. Trumansburg, N.Y.: Crossing, 1973, p. 107. WB ("Treblinka Gas Chamber"); SP:VT.
B68 "Letters to Margaret Atwood." Open Letter, Ser. 2, No. 5 (Summer 1973), pp. 71-73. WB (revised).
B69 "Poetics against the Angel of Death." In "Polishing Up the View." Excerpt transcribed Robert Enright. CV/II, 2, No. 4 (Dec. 1976), 14. SIAG; SP; SP:VT ("Poetics Against the Angel of Death"); Talk.
See PW.
B70 "[the yellow chrysanthemums...]." In "Polishing Up the View." Excerpt transcribed Robert Enright. CV/II, 2, No. 4 (Dec. 1976), 15. NP ("Non Linear: [the yellow chrysanthemums...]"; SP; SP:VT (revised); Talk. (revised--"[the yellow chrysanthemums...]").
See PW.
B71 "Free Translations." The Malahat Review, No. 45 (Jan. 1978), pp. 316-17. WB (revised); SP:VT.
See B273.
B72 "Still there are wars and crimes of war." The Malahat Review, No. 45 (Jan. 1978), p. 318. WB (revised).
B73 "Socrates." The Malahat Review, No. 46 (April 1978), pp. 62-64. WB (revised); SP:VT.
See B227.
B74 "Imperfect Sestina: Composed Like Them: November 11, 1978." The Canadian Forum, Dec.-Jan. 1979-80, p. 27. WB (revised--"Composed Like Them"); SP:VT (revised).
B75 "Imperfect Sestina: Eschatology of Spring." The Canadian Forum, Dec.-Jan. 1979-80, p. 26. Rpt. ("Eschatology of Spring") in Poetry Canada Review, 2, No. 3 (Spring 1981), 9. WB; SP:VT; LP.
See B285.
B76 "Imperfect Sestina: Imperfect Sestina." The Canadian Forum, Dec.-Jan. 1979-80, p. 27. Rpt. ("Wilson's Bowl: Imperfect Sestina") in Island [Lantzville, B.C.], No. 7 (1980), pp. 15-16. WB (revised).
See B298.
B77 "Imperfect Sestina: Lines from Gwen. Lines for Ben." The Canadian Forum, Dec.-Jan. 1979-80, p. 28. WB (revised--"Lines from Gwen. Lines for Ben.").
B78 "Imperfect Sestina: Metaphysics of Spring." The Canadian Forum, Dec.-Jan. 1979-80, p. 26. Rpt. ("Metaphysics of Spring") in Poetry Canada Review, 2, No. 3 (Spring 1981), 9. WB; SP:VT (revised).
See B292.
B79 "Vasarely: for Ann Richardson." The Canadian Forum, Dec.-Jan. 1979-80, p. 28. WB (revised); SP:VT; Talk. (revised--"Vasarely").
See B296.
B80 "Wilson's Bowl: Found Poem." Island [Lantzville, B.C.], No. 7 (1980), p. 6. WB.
See B297.
B81 "Wilson's Bowl: In This Place." Island [Lantzville, B.C.], No. 7 (1980), pp. 9-10. WB (revised); SP:VT ("In This Place").
See B299.
B82 "Wilson's Bowl: She Sings." Island [Lantzville, B.C.], No. 7 (1980), p. 8. WB.
See B300.
B83 "Wilson's Bowl: The Place is Where You Find It." Island [Lantzville, B.C.], No. 7 (1980), pp. 11-12. WB; SP:VT ("The Place Is Where You Find It").
See B302 ("Wilson's Bowl: The Place Is Where You Find It").
B84 "Wilson's Bowl: Twin Masks." Island [Lantzville, B.C.], No. 7 (1980), pp. 13-14. WB.
See B303.
B85 "Wilson's Bowl: Wilson's Bowl." Island [Lantzville, B.C.], No. 7 (1980), p. 7. Rpt. ("The Bowl") in Poetry Canada Review, 2, No. 3 (Spring 1981), 9. WB (revised--"Wilson's Bowl: The Bowl"); SP:VT (revised --"The Bowl"); Bowl.
See B270 ("The Bowl") and B301 ("Wilson's Bowl: The Bowl").
B86 "Edmonton Centre, Sept. 23/80." In The Maple Laugh Forever: An Anthology of Canadian Comic Poetry. Ed. Douglas Barbour and Stephen Scobie. Edmonton: Hurtig, 1981, p. 65. SP:VT.
B87 "Father." Poetry Canada Review, 2, No. 3 (Spring 1981), 9. WB; SP:VT; Talk.
See B272 and B286.
B88 "Messages." Poetry Canada Review, 2, No. 3 (Spring 1981), 9. Talk. (revised).
See B291.
B89 "Spots of Blood." Poetry Canada Review, 2, No. 3 (Spring 1981), 9. WB.
See B295.
B90 "Spring Thing." Poetry Canada Review, 2, No. 3 (Spring 1981), 9. WB.
B91 "Field Guide to Snow Crystals." Writing [David Thompson Univ. Centre], [A Special Sports Issue Dedicated to the Spirit of Pindar], No. 3 (Summer 1981), p. 34. SP:VT (revised); Talk. (revised).
See B287.
B92 "Following." The Literary Half-Yearly [Univ. of Mysore, India], [A Canadian Issue], 24, No. 2 (July 1983), 93-94.
B93 "Frivolities: Seven Anti-ghazals. [A lozenge of dream...]." The Malahat Review, No. 65 (July 1983), p. 7.
B94 "Frivolities: Seven Anti-ghazals. [Dentelle, sheteeth, milk-tooth,...]." The Malahat Review, No. 65 (July 1983), p. 11.
B95 "Frivolities: Seven Anti-ghazals. [Is there such a thing as a vulgar plant?...]." The Malahat Review, No. 65 (July 1983), p. 10.
B96 "Frivolities: Seven Anti-ghazals. [Mulberry tree with innocent eyes,...]." The Malahat Review, No. 65 (July 1983), p. 9.
B97 "Frivolities: Seven Anti-ghazals. [My soul, my soul, who said that?...]." The Malahat Review, No. 65 (July 1983), p. 8.
B98 "Frivolities: Seven-Anti-ghazals. [Reserved books. Reserved land. Reserved flight....]." The Malabar Review, No. 65 (July 1983), p. 12.
B99 "Frivolities: Seven Anti-ghazals. [The Authors are in Eternity,...]." The Malahat Review, No. 65 (July 1983), p. 13.
B100 "History and Secrecy." The Malahat Review, No. 65 (July 1983), p. 14.
B101 "I Daniel." The Literary Half-Yearly [Univ. of Mysore, India], [A Canadian Issue], 24, No. 2 (July 1983), 95-99. Rpt. (revised) in Poetry Canada Review, 5, No. 2 (Winter 1983-84), II. SP:VT (revised).
B102 "Leaning." The Literary Half-Hearly [Univ. of Mysore, India], [A Canadian Issue], 24, No. 2 (July 1983), 91-92.
B103 "'The Birds.'" Island [Lantzville, B.C.], Nos. 13-14 (1983-84), pp. 23-25.
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Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
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Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
Part 1 Works By Phyllis Webb; Contributions to periodicals and books; Radio and television material
Frey, Cecelia (compiler)
B156 "The Poet and the Publisher." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 15 Nov. 1955.
See B132.
B157 "Fantasia on Christian's Diary." Narr. Phyllis Webb. Anthology. Ed. Robert Weaver and Robert Patchel. CBC Radio, 21 Feb. 1956.
Webb also comments briefly on her poems. See EYRE and SP.
B158 "Fragment." Narr. Phyllis Webb. Anthology. Ed. Robert Weaver and Robert Patchel. CBC Radio, 21 Feb. 1956.
Webb also comments briefly on her poems. See EYRE and SP:VT.
B159 "The Idiot Birds." Narr. Phyllis Webb. Anthology. Ed. Robert Weaver and Robert Patchel. CBC Radio, 21 Feb. 1956.
Webb also comments briefly on her poems. See B31.
B160 "The Mind Reader." Narr. Phyllis Webb. Anthology. Ed. Robert Weaver and Robert Patchel. CBC Radio, 21 Feb. 1956.
Webb also comments briefly on her poems. See EYRE, SP, SP:VT, and B25.
B161 "September." Narr. Phyllis Webb. Anthology. Ed. Robert Weaver and Robert Patchel. CBC Radio, 21 Feb. 1956.
Webb also comments briefly on her poems. See T:FP.
B162 "The Skywriter." Narr. Phyllis Webb. Anthology. Ed. Robert Weaver and Robert Patchel. CBC Radio, 21 Feb. 1956.
Webb also comments briefly on her poems. See T:FP, EYRE, and B2.
B163 "To--." Narr. Phyllis Webb. Anthology. Ed. Robert Weaver and Robert Patchel. CBC Radio, 21 Feb. 1956.
Webb also comments briefly on her poems. See also T:FP ("To......"),EYRE ("To--"), and B3 ("Spring?").
B164 "The Meeting of the Learned Societies in Montreal." This Week. CBC Radio, 9 June 1956.
B165 Commentary. Critically Speaking. CBC Radio, 28 Oct. 1956.
B166 "The Cats of St. Ives." Narr. Phyllis Webb. Anthology. CBC Radio, 4 Dec. 1956.
Webb also comments on her poems. See SIAG and B48.
B167 "Ishmael." Narr. Phyllis Webb. Anthology. CBC Radio, 4 Dec. 1956.
Webb also comments on her poems. See B39.
B168 "To Friends Who Have Also Considered Suicide." Narr. Phyllis Webb. Anthology. CBC Radio, 4 Dec. 1956.
Webb also comments on her poems. See SIAG, SP, and SP:VT.
B169 "The Letters of Rainer Maria Rilke." Letters and Journals. CBC Radio, 13 April 1957.
B170 "Lecture on New English Poets and Trends." Anthology. Exec. prod. Robert Weaver. CBC Radio, 23 April 1957.
B171 "Around Montreal with Phyllis Webb." Sights and Sounds. CBC TV, 11 Sept. 1957.
B172 "A Review of Entertainment in Montreal." Sights and Sounds. CBC TV, 18 Sept. 1957.
B173 "Francoise Sagan." Anthology. Exec. prod. Robert Weaver. CBC Radio, 19 Nov. 1958. Rebroadcast. 17 Feb. 1959.
B174 "Encounter and Aspiration." Narr. Phyllis Webb. Anthology. CBC Radio, 8 April 1960.
B175 "Galaxy." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 8 April 1960. Rebroadcast ("Fate and the Unconscious: Galaxy"). Narr. Phyllis Webb. Ideas. Prod. Bill Terry. CBC Radio, 14 July 1972.
See SIAG ("Galaxy") and B37.
B176 "Images in Crystal." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 8 April 1960. Rebroadcast ("Fate and the Unconscious: Images in Crystal"). Narr. Phyllis Webb. Ideas. Prod. Bill Terry. CBC Radio, 14 July 1972.
See SIAG ("Images in Crystal"), SP:VT, and B38.
B177 "Propositions." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 8 April 1960.
See SIAG, SP, SP:VT, B42, and B279.
B178 "To a Policeman Guarding the National Assembly." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 8 April 1960.
See SIAG and B41.
B179 Rev. of The Swinging Flesh, by Irving Layton; and The Spice-Box of Earth, by Leonard Cohen. Critically Speaking. CBC Radio, 30 July 1961. Talk. ["Curses and Lamentations (Irving Layton and Leonard Cohen)"].
B180 Rev. of Acis in Oxford, by Robert Finch; The Sun Is Axeman, by D. G. Jones; A Canadian Anthology, ed. Fred Cogswell; and A Beach of Strangers, by John Reeves. Critically Speaking. CBC Radio, 4 March 1962.
See B148 ("Guests and Natives").
B181 Rev. of The Journal of Saint-Denys-Garneau, trans. John Glassco. Critically Speaking. CBC Radio, 28 April 1962.
B182 "Stephen Dedalus: My Favourite Character in English Fiction." Characters in the English Novel. CBC Radio, 31 July 1962.
B183 "TV Nature Shows." Critically Speaking. CBC Radio, 2 Sept. 1962.
B184 Rev. of Poems for All the Annettes, by Alfred Purdy; and Five New Brunswick Poets, by Elizabeth Brewster, Fred Cogswell, Robert Gibbs, Alden Nowlan, and Kay Smith. Critically Speaking. CBC Radio, 21 Oct. 1962.
See B149 ("Magnetic Field").
B185 "A Report on the Poetry Seminar Held at University of British Columbia, Summer, 1963." Critically Speaking. CBC Radio, 25 Sept. 1963.
B186 Interview with Charles Olson, Robert Duncan, Allen Ginsberg, Robert Creeley, and Denise Levertov. Sunday Night. CBC Radio, 19 Jan. 1964. (57 min.) FP.
B187 Rev. of Peterley Harvest, by David Peterley. Critically Speaking. CBC Radio, 8 March 1964.
B188 Rev. of Poetry 64--Poesie 64, ed. Jacques Godbout and John Robert Colombo. Critics at Large. CBC Radio, 10 March 1964.
See B151.
B189 Rev. of Points on the Grid, by George Bowering; and Elephants, Mothers & Others, by John Newlove. Critics at Large. CBC Radio, 16 June 1964.
See B153 ("Bowering's Poems Show Real Energy").
B190 "[Exultant nakedness of the nakedness of the poems...]." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 16 Aug. 1964.
B191 "[In the dream I was driving a station wagon...]." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 16 Aug. 1964.
B192 "[Love for the world at large is too much to ask...]." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 16 Aug. 1964.
B193 "Naked Poems: [Burrard inlet if there is love for this scene...], [Grown against the mountains...], [No excess coloration...], [Pear poem, white with virtue...]." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 16 Aug. 1964.
B194 "Naked Poems." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 16 Aug. 1964.
Webb also comments on her poems. See also NP ("Suite I: Moving, And, Tonight, The Bruise, Flies, Your Blouse, You" and "Suite II: [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]"), SP ("Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You" and "Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]"), SP:VT, B51 ("Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You"), B52 ("Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity. ...]"), B277 (Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You"), and B278 ("Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]").
B195 "Non Linear: [near the white Tanabe...], [My white skin...], [A curve / broken...], [I am listening for...], [I hear the waves...], [the dead dog now...], [I have given up...]." Narr. Phyllis Webb. Anthology. CBC Radio, 16 Aug. 1964.
See NP ("Non Linear: [An instant of white roses....], [near the white Tanabe...], [the yellow chrysanthemums...], [Her sickness does not ebb...], [walking in dark...], [My white skin...], [A curve / broken...], [I am listening for...], [Hieratic sounds emerge...], [I hear the waves...], [the dead dog now...], [I have given up...], ['That ye resist not...']"), SP, SP:VT, and B204 ("Non Linear: [An instant of white roses....], [Hieratic sounds emerge...]").
B196 "Revision." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 16 Aug. 1964.
B197 "[A ship named Demetrius...]." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 16 Aug. 1964.
B198 "[A Suite]: [She stood before me naked, the muse...], [He stood before me naked, the muse...], [The trouble in both cases...]." Narr. Phyllis Webb. Anthology. CBC Radio, 16 Aug. 1964.
B199 "[Ultimate, ultimate, ultimate nakedness of the poem...]." Narr. Phyllis Webb. Anthology. CBC Radio, 16 Aug. 1964.
B200 "Breaking." Narr. Phyllis Webb. Island Benefit Reading. Central Library Theatre, CBC Archives, Toronto. 27 Sept. 1964.
See SIAG, SP, SP:VT, B44, and B276.
B201 "For George Miller." Narr. Phyllis Webb. Island Benefit Reading. Central Library Theatre, CBC Archives, Toronto. 27 Sept. 1964.
B202 "For Paul Goodman." Narr. Phyllis Webb. Island Benefit Reading. Central Library Theatre, CBC Archives, Toronto. 27 Sept. 1964.
B203 "Love Is too Strong to Be Overcome by Anything but Flight (A Poem of Benediction)." Island Benefit Reading. Central Library Theatre, CBC Archives, Toronto. 27 Sept. 1964.
B204 "Non Linear: [An instant of white roses....], [Hieratic sounds emerge...]." Narr. Phyllis Webb. Island Benefit Reading. Central Library Theatre, CBC Archives, Toronto. 27 Sept. 1964.
See NP ("Non Linear: [An instant of white roses....], [near the white Tanabe...], [the yellow chrysanthemums...], [Her sickness does not ebb...], [walking in dark...], [My white skin...], [A curve / broken...], [I am listening for...], [Hieratic sounds emerge...], [I hear the waves...], [the dead dog now...], [I have given up...], ['That ye resist not...']"), SP, SP:VT, and B195 ("Non Linear: [near the white Tanabe...], [My white skin...],[A curve / broken...], [I am listening for...], [I hear the waves...], [the dead dog now...], [I have given up...]").
B205 "Rilke." Narr. Phyllis Webb. Island Benefit Reading. Central Library Theatre, CBC Archives, Toronto. 27 Sept. 1964.
See SP, WB, SP:VT, B55, and B280.
B206 "Saturday, July 11." Narr. Phyllis Webb. Island Benefit Reading. Central Library Theatre, CBC Archives, Toronto. 27 Sept. 1964.
B207 "'The Time of Man.'" Narr. Phyllis Webb. Island Benefit Reading. Central Library Theatre, CBC Archives, Toronto. 27 Sept. 1964.
See SIAG ("'The Time of Man': extrapolations from an article by Dr. Loren Eiseley"), SP, SP:VT, PW, B50 ("'The Time of Man'"), and B282.
B208 "Triadic Poem." Narr. Phyllis Webb. Island Benefit Reading. Central Library Theatre, CBC Archives, Toronto. 27 Sept. 1964.
B209 Interview with Leonard Cohen. The Best Ideas You'll Hear Tonight. CBC Radio, 4 March 1966.
Part VI of a seven-part series usually done by Timothy Findley.
B210 Host. "Poets Here, Now and Then: Cross Currents of the Forties." Interview with Miriam Waddington, Irving Layton, and F. R. Scott. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 30 April 1967.
B211 Host. "Poets Here, Now and Then: Cross Currents of the Fifties." Interview with Louis Dudek, George Johnston, and Michael Gnarowski. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 7 May 1967.
B212 Host. "Poets Here, Now and Then: Cross Currents of the Sixties." Interview with Earle Birney, Victor Coleman, George Bowering, and bpNichol. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 14 May 1967.
B213 Host. "A Lonely Music." Interview with Patrick Anderson, A. M. Klein, L. A. MacKay, Jay Macpherson, Anne Marriott, Alden Nowlan, E. J. Pratt, F. R. Scott, A. J. M. Smith, and others. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 21 May 1967.
B214 Host. "Poets Here, Now and Then." Interview with Irving Layton. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 28 May 1967.
B215 Host. "Poets Here, Now and Then." Interview with Louis Dudek and Raymond Souster. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 4 June 1967.
B216 Host. "Poets Here, Now and Then." Interview with Margaret Avison and Alfred Purdy. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 11 June 1967.
B217 Host. "Poets Here, Now and Then." Interview with Gwendolyn MacEwen and Leonard Cohen. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 18 June 1967.
B218 Host. "Poets Here, Now and Then." Interview with Earle Birney and Miriam Waddington. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 25 June 1967.
B219 Host. "Poets Here, Now and Then." Interview with bill bissett and bpNichol. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 2 July 1967.
B220 Host. "Poets Here, Now and Then." Interview with James Reaney, Dorothy Livesay, and John Beckwith. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 9 July 1967.
B221 Host. "Poets Here, Now and Then." Interview with P. K. Page and A. J. M. Smith. Modern Canadian Poetry. Prod. John Kennedy. CBC Television Extension, 16 July 1967.
B222 Host. "Poets Here, Now and Then." Readings by Robert Hogg, Roy Kiyooka, Joe Rosenblatt, Margaret Atwood, Harry Howith, and Michael Ondaatje. Modern Canadian Poetry. Prod. John Kennedy and Terri Thompson. CBC Television Extension, 23 July 1967.
B223 "Inner Space." Interview with Dr. Jean Vanier. FM Ideas. Prod. Lewis Auerbach. Exec. prod. Phyllis Webb. CBC-FM Radio, 19 Aug. 1968.
B224 "The Experts and the Mysteries, Pt. 1: How to Be a Citizen in a Complex World." Ideas. CBC Radio, 30 Sept. 1968.
B225 "Poems of Failure: Seven Sections." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 8 Aug. 1970.
See WB ("Poems of Failure: I-VII"), SP:VT ("Poems of Failure: I-III"), B59 ("Poems of Failure: Preface to the Kropotkin Poems"), and B293 ("Poems of Failure. 1").
B226 "Richard II." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 8 Aug. 1970.
B227 "Socrates." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 8 Aug. 1970.
See WB; SP:VT, and B73.
B228 "The Song Changes Its Place." Narr. Phyllis Webb. Anthology. Exec. prod. Robert Weaver. CBC Radio, 8 Aug. 1970.
B229 "Waterlily and Multifoliate Rose: Cyclic Notions in Proust." Ideas. CBC Radio, 2 Nov. 1970. Talk. (revised).
B230 "The Question as an Instrument of Torture." Ideas. CBC Radio, 11 May 1971. Talk. (revised).
B231 Rev. of Mrs. Blood, by Audrey Thomas. Critics at Large. CBC Radio, 4 Oct. 1971. Talk. ["Give Us This Day (Audrey Thomas)"].
B232 Rev. of Lies, by John Newlove. Critics on Air. CBC Radio [1972].
B233 Rev. of Passing Ceremony, by Helen Weinzweig. Critics on Air. CBC Radio [1972].
B234 Rev. of Survival: A Thematic Guide to Canadian Literature, by Margaret Atwood. Critics on Air. CBC Radio, [1972].
B235 Rev. of The Energy of Slaves, by Leonard Cohen. Critics on Air. CBC Radio, [1972]. Talk. ["The Energy of Slaves (Leonard Cohen)"].
B236 "Ancient Rhythms." Rev. of Daughters of the Moon, by Joan Haggerty. Critics on Air. CBC Radio, 24 Jan. 1972.
See B155.
B237 "Shakespeare of the Globe." Interview with Nicholas Knight. Ideas: Shakespeare in the Global Village. CBC Radio, 25 Jan. 1972.
B238 "Shakespeare in the Classroom." Interview with Rev. W. Moelwyn Merchant. Ideas: Shakespeare in the Global Village. CBC Radio, 26 Jan. 1972.
B239 "Rejoice in the Lamb: The Offering of Christopher Smart." Dir. Robert Chesterman. CBC Tuesday Night. CBC-FM Radio, 4 April 1972.
The cast includes Peter Ajello, Roy Brinson, Shirley Broderick, Roland Hurter, John White, and Patricia Williams.
B240 "Fate and the Unconscious: Calamities and Crystals." Ideas. Prod. Bill Terry. CBC Radio, 14 July 1972.
B241 "Fate and the Unconscious: Pining." Narr. Phyllis Webb. Ideas. Prod. Bill Terry. CBC Radio, 14 July 1972.
See T:FP ("Pining") and B21.
B242 "Fate and the Unconscious: [excerpts from] Standing." Narr. Phyllis Webb. Ideas. Prod. Bill Terry. CBC Radio, 14 July 1972.
See T:FP ["Standing (For Earle Birney)"], EYRE ("Standing"), SP ["Standing (for Earle Birney)"], and B23 ("Standing").
B243 "Fate and the Unconscious: The Glass Castle." Narr. Phyllis Webb. Ideas. Prod. Bill Terry. CBC Radio, 14 July 1972.
See SIAG ("The Glass Castle"); SP, SP:VT, and B46.
B244 Rev. of Surfacing, by Margaret Atwood. Critics on Air. CBC Radio, 27 Oct. 1972.
B245 Interview with Louis Dudek. As It Happens. Prod. Colin McLeod. CBC Radio, 2 Nov. 1972.
Part of an obituary document on Ezra Pound.
B246 Rev. of The Manticore, by Robertson Davies. Critics on Air. CBC Radio, 18-20 Nov. 1972.
B247 Rev. of Scann, by Robert Harlow. Critics on Air. CBC Radio, 2-4 Dec. 1972.
B248 "Letters to Margaret Atwood." Ideas FM: Work of Contemporary Canadian Women Writers. Narr. Phyllis Webb. Prod. Patricia MacFarlane. CBC-FM Radio, 28 Dec. 1972.
B249 Rev. of Shmucks, by Seymour Blicker. Critics on Air. CBC Radio, 19 Jan. 1973.
B250 Rev. of A Whale for the Killing, by Farley Mowat. Critics on Air. CBC Radio, 20 Jan. 1973. Talk. [expanded--"A Greater Loneliness (Farley Mowat and Robert Hunter)"].
B251 Rev. of Greenpeace, by Robert Keziere and Robert Hunter. Critics on Air. CBC Radio, 20 Jan. 1973. Talk. [expanded--"A Greater Loneliness (Farley Mowat and Robert Hunter)"].
B252 Rev. of Lives of Girls and Women, by Alice Munro. Critics on Air. CBC Radio, 10 Feb. 1973.
B253 Rev. of Poems, by James Reaney. Critics on Air. CBC Radio, 10 Feb. 1973.
B254 Rev. of Wandering Rafferty, by Ken Mitchell. Critics on Air. CBC Radio, 17 Feb. 1973.
B255 Rev. of Collected and Bound, by Allan Fotheringham. Critics on Air. CBC Radio, 3 March 1973.
B256 Rev. of Indian Art in North America, by Frederick J. Dockstader. Critics on Air. CBC Radio, 11 March 1973.
B257 Rev. of Columbus and the Fat Lady, by Matt Cohen. Critics on Air. CBC Radio, 17 March 1973.
B258 Rev. of Collected Poems: The Two Seasons, by Dorothy Livesay. Critics on Air. CBC Radio, 23 March 1973.
B259 Rev. of Paris Was Yesterday, by Janet Flanner. Critics on Air. CBC Radio, 31 March 1973.
B260 Rev. of La Guerre, Yes Sir!, Floralie, Where Are You?, and Is It the Sun, Philibert?, by Roch Carrier. Critics on Air. CBC Radio, April 1973.
B261 Rev. of No Pain Like This Body, by Harold Sonny Ladoo. Critics on Air. CBC Radio, 27 April 1973.
B262 Rev. of Flycatcher and Other Stories, by George Bowering. Critics on Air. CBC Radio, 6 Nov. 1974.
B263 Rev. of For and Against the Moon: Blues, Yells and Chuckles, by Tom Wayman. Critics on Air. CBC Radio, 18 Nov. 1974. Talk. ["Wanting and Getting (Tom Wayman)"].
B264 Rev. of You Are Happy, by Margaret Atwood. Critics on Air. CBC Radio, 25-26 Nov. 1974. Talk. ["Is You Me? (Margaret Atwood)"].
B265 Rev. of Colombo's Canadian Quotations, ed. John Robert Colombo. Critics on Air. CBC Radio, 1 Jan. 1975.
B266 Rev. of In Search of Owen Roblin, by Al Purdy. Critics on Air. CBC Radio, 1 Jan. 1975. Talk. ["'A fly-speck in history' (Al Purdy)"].
B267 Rev. of Peter Gzowski's Book about This Country in the Morning. Critics on Air. CBC Radio, 1 Jan. 1975.
B268 Rev. of The Fatal Woman, by John Glassco. Critics on Air. CBC Radio, 3 Feb. 1975. Talk. ["Towards Androgeny? (John Glassco)"].
B269 Rev. of Blown Figures, by Audrey Thomas. Arts in Review. CBC Radio, 1 March 1975. Talk. ["Her Prodigies Within (Audrey Thomas)"].
B270 "The Bowl." Narr. Phyllis Webb. Morningside. CBC Radio, 21 Jan. 1983.
The tape also includes an interview (C71). See also WB ("Wilson's Bowl: The Bowl"), SP:VT ("The Bowl"), B85 ("Wilson's Bowl: Wilson's Bowl"), and B301 ("Wilson's Bowl: The Bowl").
B271 "The Days of the Unicorns." Narr. Phyllis Webb. Morningside. CBC Radio, 21 Jan. 1983.
The tape also includes an interview (C71). See also WB and B284.
B272 "Father." Narr. Phyllis Webb. Morningside. CBC Radio, 21 Jan. 1983.
The tape also includes an interview (C71). See also WB, SP:VT, Talk., B87, and B286.
B273 "Free Translations." Narr. Phyllis Webb. Variety Tonight. Host Vicki Gabereau. CBC Radio, 7 June 1983.
The tape also includes an interview (C74). See also WB, SP:VT, and B71.
B274 "Two Versions: Poetry." Narr. Phyllis Webb. Variety Tonight. Host Vicki Gabereau. CBC Radio, 7 June 1983.
The tape also includes an interview (C74). See also EYRE ("Two Versions: 1. Poetry 2. In Situ"), SP ("Two Versions: 1. Poetry, 2. In Situ"), SP:VT, and B32 ("In Situ").
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Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
Item Number: ABCMA06PWP1000006006002005
Record: 474- Title:
- Part 1 Works By Phyllis Webb; Contributions to periodicals and books; Reprinted anthology contributions: A selection
- Other Title:
- Part 1 Works By Phyllis Webb; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 1: Works By Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP1
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
Part 1 Works By Phyllis Webb; Contributions to periodicals and books; Reprinted anthology contributions: A selection
Frey, Cecelia (compiler)
B104 "Chung Yung" and "Pain." In Canadian Poems: 1850-1952. Ed. and introd. Louis Dudek and Irving Layton. 2nd ed. Toronto: Contact, 1952, p. 126.
B105 "Marvell's Garden," "The Mind Reader," and "Poetry." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and preface A. J. M. Smith. 3rd ed. Toronto: Gage, 1957, pp. 497-500.
B106 "'Sprouts the Bitter Grain.'" In The Penguin Book of Canadian Verse. Ed. and introd. Ralph Gustafson. Harmondsworth, Eng.: Penguin, 1958, p. 230.
B107 "Marvell's Garden" and "A Tall Tale or, a Moral Song." In The Oxford Book of Canadian Verse: In English and French. Ed. and introd. A. J. M. Smith. Toronto: Oxford Univ. Press, 1960, pp. 399-401.
B108 "Making." In Poet's Choice. Ed. and introd. Paul Engle and Joseph Langland. New York: Dial, 1962, pp. 263-64.
B109 "Flux." In A Century of Canadian Literature/Un Siecle de Litterature Canadienne. Ed. Gordon Green and Guy Sylvestre. Introd. Gordon Green. Preface Guy Sylvestre. Toronto: Ryerson, 1967, p. 516.
B110 "Poetics against the Angel of Death," "Propositions," and "'The Time of Man': extrapolations from an article by Dr. Loren Eiseley." In Modern Canadian Verse: In English and French. Ed. and preface A. J. M. Smith. Toronto: Oxford Univ. Press, 1967, pp. 285-87.
B111 "Rilke." In The Penguin Book of Canadian Verse. Ed. and introd. Ralph Gustafson. Rev. ed. Harmondsworth, Eng.: Penguin, 1967, p. 246.
B112 "Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You" and "Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]." In How Do I Love Thee: Sixty Poets of Canada (and Quebec) Select and Introduce Their Favourite Poems from Their Own Work. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1970, pp. 66-69.
B113 "Breaking," "A Long Line of Baby Caterpillars," "Love Story," "Marvell's Garden," "Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You," "Naked Poems: Suite II. [While you were away...], [The sun comes through...], [Tonight...], [On the floor your blouse....], [Then you must go....], [In the gold darkening...], [You brought me clarity....]," "Sitting," "The Time of Man': extrapolations from an article by Dr. Loren Eiseley," and "To Friends Who Have Also Considered Suicide." In Eight More Canadian Poets. Ed., preface, and introd. Eli Mandel. Toronto: Holt, Rinehart and Winston, 1972, pp. 52-63.
B114 "The Idiot Birds." In Forum: Canadian Life and Letters 1920-70. Selections from The Canadian Forum. Ed. and preface J. L. Granatstein and Peter Stevens. Toronto: Univ. of Toronto Press, 1972, p. 310.
B115 "Antisong," "Ezra Pound," "For Fyodor," "Solitary Confinement," and "Treblinka Gas Chamber." In Mountain Moving Day: Poems by Women. Ed. and introd. Elaine Gill. Trumansburg, N.Y.: Crossing, 1973, pp. 103-07.
B116 "Fantasia on Christian's Diary," "Lament," "Poetics against the Angel of Death," and "Sitting." In The Oxford Anthology of Canadian Literature. Ed. and preface Robert Weaver and William Toye. Toronto: Oxford Univ. Press, 1973, pp. 509-11.
B117 "Beachcomber" and "A Tall Tale." In Skookum Wawa: Writings of the Canadian Northwest. Ed. and preface Gary Geddes. Toronto: Oxford Univ. Press, 1975, pp. 198, 209.
B118 "The Second Hand." In Signatures: Poems of Canada. Ed. Jim Head, Don Laing, and Glenn Miller. Don Mills, Ont.: Nelson, 1976. Vol. III, 49.
B119 "Making" and "Phyllis Webb's Canada." In Western Windows: A Comparative Anthology of Poetry in British Columbia. Ed. Patricia M. Ellis. Vancouver: CommCept, 1977, pp. 57-58, 218-23.
B120 "A Tall Tale or, A Moral Song." In Whale Sound: An Anthology of Poems about Whales and Dolphins. Ed. Greg Gatenby. Toronto: Dreadnought, 1977, p. 71.
B121 "Breaking," "For Fyodor," "The Glass Castle," "I Can Call Nothing Love," "Love Story," "Mad Gardener to the Sea...," "Marvell's Garden," "The Mind Reader," "Naked Poems: [star fish ...]." "Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You," "Naked Poems: Suite II. [While you were away...], [The sun comes through...], [On the floor your blouse....], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]," "Occasions of Desire," "Pain," "Poetics against the Angel of Death," "Propositions," "Rilke," "Sitting," "A Tall Tale," "'The Time of Man': extrapolations from an article by Dr. Loren Eiseley," "To Friends Who Have Also Considered Suicide," and "Treblinka Gas Chamber." In 15 Canadian Poets Plus 5. Ed. and preface Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1978, pp. 146-66.
B122 "Breaking," "From Non Linear: [a curve / broken ...], [near the white Tanabe...]," "Lament," "Making," "Marvell's Garden," and "Patience." In Literature in Canada. Ed. and preface Douglas Daymond and Leslie Monkman. Vol. II. Toronto: Gage, 1978, 442-48.
B123 "Propositions." In The Poets of Canada. Ed. and preface John Robert Colombo. Edmonton: Hurtig, 1978, p. 180.
B124 "Flies," "From Non Linear: [My white skin...]," "A Long Line of Baby Caterpillars," "Sitting," and "[star fish...]". In To Say the Least: Canadian Poets from A to Z. Ed. and introd. P. K. Page. Toronto: Porcepic, 1979, pp. 9, 21, 27, 94, 119.
B125 "For Fyodor" and "A Question of Questions: 1-5." In D'Sonoqua: An Anthology of Women Poets of British Columbia. Vol. II. Ed. Ingrid Klassen. Vancouver: Intermedia, 1979, 81-82.
B126 "Alex." In The Maple Laugh Forever: An Anthology of Canadian Comic Poetry. Ed. and prologue Douglas Barbour and Stephen Scobie. Edmonton: Hurtig, 1981, p. 82.
B127 "Imperfect Sestina" and "Wilson's Bowl [The Bowl]." In The World Is As Sharp As a Knife: An Anthology in Honour of Wilson Duff. Ed. and introd. Donald N. Abbott. Prologue Bill Reid. Victoria: British Columbia Provincial Museum, 1981, pp. 339-40.
B128 "Breaking," "Eschatology of Spring," "Marvell's Garden," "Poetics against the Angel of Death," "A Question of Questions: I-V," and "The Shape of Prayer." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto/Downsview, Ont.: General/ECW, 1982. Vol. II, 109-18.
B129 "The Days of the Unicorns," "From 'The Kropotkin Poems,'" "Imperfect Sestina," "Poetics against the Angel of Death," "Spots of Blood," and "To Friends Who Have Also Considered Suicide." In The New Oxford Book of Canadian Verse: In English. Ed. and introd. Margaret Atwood. Toronto: Oxford Univ. Press, 1982, pp. 269-75.
B130 "Alex," "The Days of the Unicorns," "Eschatology of Spring," "Father," "In a Garden of the Pitti Palace," "Kropotkin," "Metaphysics of Spring," "Moments Are Monuments," "Phyllis Webb: On the Line" (article), "Rilke," "Sitting," "Spring Thing," "Spots of Blood," "'The Time of Man': Extrapolations from an Article by Dr. Loren Eiseley," "To Friends Who Have Also Considered Suicide," and "A Walk by the Seine." In The Contemporary Canadian Poem Anthology. Ed. and introd. George Bowering. Toronto: Coach House, 1983. Vol. IV, 326-42, 367-71.
B131 "Eschatology of Spring," "For Fyodor," "From Naked Poems: Suite I. Moving, And, Tonight, The Bruise, Flies, Your Blouse, You; Suite II. [while you were away...], [The sun comes through...], [On the floor your blouse...], [Tonight...], [Then you must go....], [In the gold darkening...], [You brought me clarity....]," "The Glass Castle," "Lear on the Beach at Break of Day," "Marvell's Garden," "Spots of Blood," and "To Friends Who Have Also Considered Suicide." In An Anthology of Canadian Literature in English. Ed. and introd. Donna Bennett and Russell Brown. Vol. II. Toronto: Oxford Univ. Press, 1983, 226-36.
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Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
Item Number: ABCMA06PWP1000006006002002
Record: 475- Title:
- Part 1 Works By Phyllis Webb; Contributions to periodicals and books; Reviews
- Other Title:
- Part 1 Works By Phyllis Webb; Contributions to periodicals and books
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 1: Works By Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 390-418)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP1
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Source: Part 1: Works By Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 390-418
Part 1 Works By Phyllis Webb; Contributions to periodicals and books; Reviews
Frey, Cecelia (compiler)
B143 Rev. of Of Time and the Lover, by James Wreford. Northern Review, 4, No. 4 (April-May 1951), 39-40.
B144 Rev. of A Writer's Diary, by Virginia Woolf. Ed. Leonard Woolf. CIV/n, No. 5 [Spring 1954], pp. 20-21.
B145 Rev. of Here Are Mine: Poems, by Leopoldo A. de la Cruz; Remember Together, by Myrtle Reynolds Adams; and Mobiles, by Thecla Bradshaw. The Canadian Forum, April 1956, pp. 20-21.
B146 Rev. of Archibald Lampman's Letters to Edward William Thomson (1890-1898), ed. Arthur S. Bourinot. The Canadian Forum, Sept. 1956, pp. 141-42.
B147 "A Story of Urban Emptiness." Rev. of Lovers and Strangers, by Joyce Marshall. Mayfair, Sept. 1957, pp. 14-15.
B148 "Guests and Natives." Rev. of A Beach of Strangers, by John Reeves; and The Sun Is Axeman, by D. G. Jones. Canadian Literature, No. 12 (Spring 1962), pp. 56-59. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Dedria Bryfonski. Vol. X. Detroit: Gale, 1979, 285. Talk. [revised--"Palpable Relations (John Reeves and D. G. Jones)"].
See B180.
B149 "Magnetic Field." Rev. of Poems for All the Annettes, by Alfred Purdy. Canadian Literature, No. 15 (Winter 1963), pp. 80-81. Talk. [revised--"Poems for All the Annettes (Al Purdy)"].
See B184.
B150 "Compendium of Cliches Fine for Wide Screen." Rev. of Son of the Star, by Carl Krueger. The Vancouver Sun, 1 May 1964, Sec. Leisure, p. 8.
B151 Rev. of Poetry 64--Poesie 64, ed. Jacques Godbout and John Robert Colombo. The Canadian Forum, May 1964, p. 46.
See B188.
B152 "Dahlberg 'Paints' Mother's Portrait." Rev. of Because I Was Flesh, by Edward Dahlberg. The Vancouver Sun, 3 July 1964, Sec. Leisure, p. 6.
B153 "Bowering's Poems Show Real Energy." Rev. of Points on the Grid, by George Bowering. The Vancouver Sun, 10 July 1964, Sec. Leisure, p. 17.
See B189.
B154 "Canadian Chronicle." Rev. of Jawbreakers, by Milton Acorn; Poetry 64--Poesie 64, ed. Jacques Godbout and John Robert Colombo; A Friction of Lights, by Eldon Grier; and The Rising Fire, by Gwendolyn MacEwen. Poetry [Chicago], 104 (Sept. 1964), 385-92. Talk. [revised--"Canadian Chronicle (Gwendolyn MacEwen, Eldon Grier, Milton Acorn, and Poetry '64 -- Poesie '64)"].
B155 "Ancient Rhythms." Rev. of Daughters of the Moon, by Joan Haggerty. The British Columbia Monthly, 1, No. 1 (June-July 1972), 34-35.
See B236.
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Source: Frey, Cecelia (compiler); . Part 1: Works By Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 390-418 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP1.
Item Number: ABCMA06PWP1000006006002004
Record: 476- Title:
- Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours; Adaptations
- Other Title:
- Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 2: Works On Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 38-109)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP2
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Source: Part 2: Works On Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 38-109
Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours; Adaptations
Wengle, Annette (compiler)
C186 Anderson, Mia. Ten Women, Two Men and a Mouse. Narr. Mia Anderson. Anthology. CAA Radio, 30 Dec. 1972. In this radio adaptation of Mia Anderson's stage-show, Anderson reads excerpts from Engers The Honeyman Festival (A2) as well as from works by other Canadian women.
C187 Toppings, Earle, adapted. Lunatic Villas. Prod. and dir. Lawrie Seligman. Saturday Stereo Theatre. CBC Radio, 21 May 1983 A radio-play adapted from Engers novel of the same title (A7). The cast includes Lally Cadeau, James deFelice, Asaph Flpke, Randall Fraser, Angela Gann, Elsa Houba, Walter Kaasa, Andrea Paulsen, and Stephen Walsh.
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
Item Number: ABCMA07MEP2000007001003005
Record: 477- Title:
- Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours; Articles and sections of books
- Other Title:
- Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 2: Works On Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 38-109)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP2
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Source: Part 2: Works On Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 38-109
Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours; Articles and sections of books
Wengle, Annette (compiler)
C3 "Meet Your Council: Who's Who Upstairs." The Silhouette [McMaster Univ. I, 10 Oct. 1952, p. 4. Biographical data.
C4 Carleton, Rupe. "Please ... Get Serious." Letter. The Silhouette [McMaster Univ.], 17 Oct. 1952, pp. 2, 5. Carleton criticizes Marian Passmore's "The Frosh Talk Back" (B65).
C5 Williams, Chuck. "Spotlight." The Silhouette [McMaster Univ.], 24 Oct. 1952, p. 3. Marian Passmore and Rupert Carleton are discussed in relation to the numerous letters to the editor regarding Passmore's "The Frosh Talk Back" (B65) and Carleton's response (C4).
C6 "Meet Your Sil Staff." The Silhouette [McMaster Univ.], 9 Oct. 1953, p. 2. "Feature Editor: Marian Passmore" is introduced. She "obligingly sat down and wrote 'The Frosh Talk Back' [B65] and so unwittingly began one of the most startling debuts known to journalism."
C7 "Passmore, Waldstein Face Toronto, McGill in Week-End Marathon." The Silhouette[McMaster Univ.], 12 Feb. 1954, p. 2. This is a report on the first Women's Inter-Varsity Debating Tournament, in which McMaster University, McGill University, and University of Toronto participated. Marian Passmore was on the McMaster team.
C8 "Sil Staff." The Silhouette [McMaster Univ.], 22 Oct. 1954, p. 4. This short humorous entry on Marian Passmore includes a limerick about her.
C9 "Censorship Debate Topic." The Silhouette [ McMaster Univ.], 29 Oct. 1954, p. 4. Marian Passmore will be one of the debaters in the first student debate of the year. "Cody and Passmore won the intramural debating championship last year."
C10 "Thespians Toil to Make 'Heiress' Thumping Success." The Silhouette [McMaster Univ.], 12 Nov. 1954, p. 1. Marian Passmore is listed among the "Members of the cast not previously mentioned
C11 "First Look at Heiress." The Silhouette [McMaster Univ.], 26 Nov. 1954, p. 1. In this review of the play The Heiress, the author notes that "... Marian Passmore made a very successful maid, managing quite a startling number of variations on the expression 'Thank you.'"
C12 Schuler, Joan. "Spotlight." The Silhouette [McMaster Univ.], 26 Nov. 1954, p. 3. "After coming to Mac, Marian entered into student activities immediately." She was Frosh vice-president, a member of the Debating Club, and, in second year, won the inter-year debating trophy. This year she is vice-president of the Debating Union. Passmore is editor of The Muse and associate editor of The Silhouette. She has been social convenor of the Liberal Club. This year she is acting for the first time. Last summer, she was a cub reporter for the Sarnia Observer.
C13 "Varsity Debates Start: U.S. Domination National Theme." The Silhouette [McMaster Univ.], 26 Nov. 1954, p. 1. Marian Passmore is mentioned as vice-president of the Debating Union.
C14 Armour, Kathy. "Council Is Criticized, Commended by Expert Panel." The Silhouette [McMaster Univ.], 11 Feb. 1955, p. 4. Marian Passmore is one of nine students asked to comment on the Students' Council.
C15 "Four Receive Honour: M's Granted to Head Boy, Girl, Pass, Bennie." The Silhouette [McMaster Univ.], 11 Feb. 1955, p. 2. "Four awards were granted this year by the Honour M Selection committee .... Marian Passmore's leadership in the literary field and her constant interest and contribution to undergraduate activities gave her an Honour M. Her work in the publications has included three years on the Muse, two of them as editor, and three years on The Silhouette, one as Feature Editor and one as Associate Editor. Miss Passmore, now finishing a course in Language Studies, has received an OHA Scholarship, Legion Bursary, MSB Book Prize, and Isobel Walton Memorial Prize. Outside of the publications she has been in Debating, MDS, MMA, Philosophy Club, Writers Workshop, and was on Student's Council as Vice-President in her first year."
C16 "Longman's Ladies." Canadian Author & Bookman, 43, No. 4 (Summer 1968), 6-7, 24. In No Clouds of Glory, Engel "has written a clever, hardhitting, colourfully worded character study of a woman which stretches the meaning of the word novel." However, Engel's inflexibility, disdain for the reader, and poor resolution of the novel are flaws, which the reviewer hopes she will mend before she is "a bleeding body on the Canadian literary scene." Longmans is proud to be the first publisher of Phyllis Brett Young, Phyllis Grosskurth, and Marian Engel, all of whom are "very readable writers."
C17 "Engel, Marian 1933- ." In Contemporary Authors: A Bio-Bibliographical Guide to Current Authors and Their Works. Ed. Carolyn Riley. Vols. xxv-xxviii. Detroit: Gale, 1971, 236-37. Rpt. in Contemporary Authors: A Bio- Bibliographical Guide to Current Authors and Their Works. Ed. Christine Nasso. First Revision Series. Vols. xxv-xxviii. Detroit: Gale, 1977, 220-21. Bio-bibliographical data.
C18 Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi, 1972, pp.138-39, 209-10. Rpt. (excerpt -- "Ice Women v. Earth Mothers: The Stone Angel and the Absent Venus") in Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, pp. 238-39. In The Honeyman Festival, Minn must "come to terms with" a Canadian pattern of Calvinistic "guilt without final cause and therefore a guilt without final atonement or expiation." She is also part of the "Rapunzel Syndrome [which] transcends national boundaries .... [But] in Canada Rapunzel and the tower are the same. These heroines have internalized the values of their culture to such an extent that they have become their own prisons." Minn must struggle "to find a way out of the rigid Hecate stereotype." Like other female characters in this group of "normal women" in "realistic" novels, Minn is trapped in a body she does not recognize as her own.
C19 S[tory]., N[orah]. "Engel, Marian (1933- ) nee Passmore." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 74-75. The entry includes biographical data, and descriptive and evaluative discussions of the first two novels.
C20 S[tory]., N[orah]. "Fiction in English." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 87-88. In Section 6, "Personal Problems and Solutions," Marian Engel and Mavis Gallant are cited as authors who "disabuse Canadian women of the romantic notion that they can escape adult responsibilities by seeking a glamorous life in Europe." The Honeyman Festival and No Clouds of Glory are briefly examined.
C21 Waterston, Elizabeth. Survey: A Short History of Canadian Literature. Methuen Canadian Literature. Toronto: Methuen, 1973, p. 72. Engel's The Honeyman Festival is briefly referred to as an illustration that "Writers of fiction are beginning to convert the rhetoric of 'Women's Liberation' into experimental novels."
C22 Clery, Val. "Marian Engel: An Island in Time." Quill & Quire, Dec. 1973, p.3. In an article based on an interview with Engel at the time of publication of her new book, Monodromos, Clery notes connections between Engel's personal experience and the subject matter of her books.
C23 Adilman, Sid. "The Second City Troupe Folding after Six Months." The Toronto Star. "Eye on Entertainment," 11 Dec. 1973, p. E7. "Strange the successful yet improbable project has gone unnoticed in the press, but this week brings to a close Marian Engel's daily serialized novel ... It's been on the air three to five minutes at 11:03 since September' (B347).
C24 Davey, Frank. "Marian Engel (1933- )." In his From There to Here: A Guide to English-Canadian Literature since 1960. Vol. II of Our Nature -- Our Voices. Erin, Ont.: Porcepic, 1974, pp. 99-100, 102. Engel's first "three novels are all interior monologues by southern Ontario women, lucidly written in a conventional and non-demanding stream of consciousness style." All the protagonists are prisoners of "'the heathen blanket of southern Ontario guilt.'" Each protagonist "experiences a conflict between her puritannical heritage and the relaxed sensuality of Europe. In the first two novels, Engel suggests that the "'heroines' have some chance of escaping," but "... neither ending is particularly strong or convincing." Engel may "have to solve the postmodern problem of finding meaning within chaos before her fiction can move past the obsessive desolation of Sarah's, Mim's [sic], and Audrey's lives." Biographical data is also included.
C25 MacSkimming, Roy. "Writers' Union Meeting Shows Gratifying Signs of Solidarity." The Toronto Star, 28 Oct. 1974, p.D6. This is a report on the second annual meeting of The Writers' Union. "At day's end Marian Engel could relax and assess the state of the union after a hectic but fruitful year as its first chairman."
C26 French, William. "The Women in Our Literary Life." Imperial Oil Review, 59, No. 1 (1975), 2-7. Rpt. in Canadian Author & Bookman, 51, No. 3 (Spring 1976), 1-2, 5. French notes the current "unprecedented abundance" of Canadian women writers. Among reasons cited for their prominence is the fact that the women are good by any standards ... the predominance isn't synthetic or phony, or something contrived by over-zealous feminists ... They were not anti-male (with a few exceptions), but pro-women. The central characters in most of their novels are women who experience ... the problems with which all women are familiar." French gives an overview of Canadian women novelists, from Frances Brooke to the present, with particular attention to Margaret Laurence, Margaret Atwood, Alice Munro, and Marie-Claire Blais. Marian Engel is briefly mentioned in connection with The Writers' Union, "her studies of Ontario provincialism," and the critics' reception of The Honeyman Festival.
C27 Matyas, Joe. "Women Teachers Laud NonSexist Kids' Book." The London Evening Free Press, 13 March 1975, p. 14. Marian Engel is in London at the invitation of the London Women Teachers Association. Adventure at Moon Bay Towers "portrayed the hero and heroine as equals without sexual stereotyping or artificial assigning of roles." This is Engel's first children's book and was written for her own children "as 'entertainment and not to convey any message she said."
C28 Gottlieb, Lois, and Wendy Keitner. "Mothers and Daughters in Four Recent Canadian Novels." The Sphinx: A Magazine of Literature and Society, [1], No.4 (Summer 1975), 21-34. Gottlieb and Keitner examine "the portrayal of the central female character" in Ethel Wilson's Hetty Dorval, Mavis Gallant's Green Water, Green Sky, Margaret Laurence's A Jest of God, and Marian Engel's The Honeyman Festival. They analyse "what shapes women's lives when they are no longer defined in terms of their satellite roles to the male sun." Phyllis Chesler's Women and Madness, which examines the Demeter myth as the prototypical mother-daughter relationship, provides the basis for analysing the four novels. In The Honeyman Festival, Minn is seen as an example of movement towards "the Artemis archetype with its determination for wholeness of self, its reconciliation of individuality with maternity. Finally, in fact, in The Honeyman Festival we move from individual awareness to social consciousness of the problems and possibilities of woman in contemporary Canadian society."
C29 Parker, Douglas H. "'Memories of My Own Patterns': Levels of Reality in The Honeyman Festival." Journal of Canadian Fiction, 4, No. 3 (1975), 111-16. Parker examines The Honeyman Festival in the context of Northrop Frye's dictum that "the loss and regaining of identity is the framework of all literary production." In current Canadian literature, there is a contest for survival "between man and his inner world ... In The Honeyman Festival, Marian Engel uncovers, through deep psychic incision, the dreams and nightmares of the everyday housewife caught between an intolerable present and a faded but persistent memory of a more glorious past." Film is the "recurring metaphor" and structural device for "the inner struggle between past and present that Minn experiences" Her "incessant introspection and flashbacks" are presented as a series of movies or film-strips. Engel "has depicted ... the process of survival as seen through the metaphor of the film."
C30 Burton, Lydia, and David Morley. "A Sense of Grievance: Attitudes toward Men in Contemporary Fiction." The Canadian Forum, [Women's Issue], Sept. 1975, pp. 57, 58-59, 60. The Honeyman Festival, Joanne: The Last Days of a Modern Marriage, Margaret Atwood's The Edible Woman, Constance Beresford Howe's The Book of Eve, and Margaret Laurence's The Fire-Dwellers and The Diviners are analysed as examples of the treatment of women's "consciousness" of issues in relation to men. The "central character is [usually] a woman ... who is focussing on details of self-awareness and self-discovery ..." In all the novels, as the women try to gain equality and independence, their core relationships are seen as inadequate and are being damaged.
C31 Biblowitz, Iris, Liza Bingham, Frances M. Goodstein, Julia Homer, Jill Janows, Ann Kautzmann, Peggy Kornegger, Virginia Rankin MacLean, Jane Tuchscherer, and Judy Wynn, comp. "Engel, Marian." In their Women and Literature: An Annotated Bibliography of Women Writers. 3rd ed. Cambridge, Mass.: Women and Literature Collective, 1976, p. 148. Bibliographical data.
C32 Colombo, John Robert. "Engel, Marian (b. 1933)." In his Colombo's Canadian References. Toronto: Oxford Univ. Press, 1976, p. 173. Brief bio-bibliographical data.
C33 Crean, Susan M. Who's Afraid of Canadian Culture?. Don Mills, Ont.: General, 1976, p. 202. Crean includes Engel among the "serious novelists" most Canadians have never heard of. She is also among twenty-eight individuals thanked in Crean's "Author's Note."
C34 Fee, Margery, and Ruth Cawker. Canadian Fiction: An Annotated Bibliography. Toronto: Peter Martin, 1976, pp. 43, 145, 150. Bibliographical data.
C35 New, William H. "Fiction." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol.III, 260, 269, 272-73. New briefly considers the theme of "family ties" in Engers work and notes the content and concerns of her first two novels.
C36 Van Daele, Christa. "The Princess of Serendip: Marian Engel in Review." Branching Out, 3 (April-June 1976), 41-42. "In Engel's novels, structure appears incidental, even arbitrary ... As a result the success of each piece of fiction she makes tends to vary drastically, depending as each does on an energizing current of spontaneity." The novels (including Bear) and the short stories in Inside the Easter Egg are evaluated. Sarah Bastard's Notebook and The Honeyman Festival receive favourable assessments.
C37 MacSkimming, Roy. "A Writer's Gutsy Imagination Sets Up a Hard Act to Follow." The Toronto Star, 15 May 1976, p. H3. MacSkimming provides biographical information on Engel before noting that Bear "brought her immediate recognition as one of the most interesting novelists in Canada -- or anywhere else ... It brought her out of the shadow of her female compatriots ... It's written in an uncommonly subtle and sinuous prose, spun out of an uncommonly gutsy imagination .... The publisher's caution probably wasn't necessary ..." because of the positive reception the book received. MacSkimming outlines some of Engel's financial and time problems as a single parent and Canadian novelist, her work with The Writers' Union, and the recent struggle for "Public Lending Right" in the libraries. Bear was the result of an attempt to write a short story for an erotic anthology planned by The Writers' Union. Engel noted that Bear is "'about female sexuality.'" MacSkimming outlines her academic training and her "sojourns in England, France and Greece."
C38 Sutton, Joan. "Marian Engel's Bear Answers a Challenge with Brilliance." The Toronto Sun. "Sutton's Place," 13 April 1976, p. 41. This article is based on an interview and combines biographical information with comments and background on Engers new novel.
C39 Base, Ron. "Marian Engel: Our Lady of Bears." The Toronto Sun, 9 May 1976, p. M5. This article is based on an interview and provides standard biographical information and occasional anecdotes. Some background to Bear is sketched, including its genesis in an attempt to write " 'a pornographic short story for The Writers' Union anthology.'"
C40 "Profiles." Axiom: Atlantic Canada's Magazine, 2, No. 5 (July 1976), 30. "Marian Engel ... was guest speaker in May at the First Annual General Meeting of the Nova Scotia Writers' Federation in Halifax, Nova Scotia."
C41 "Engel." In 1975 Bibliography of Literature in English by and about Women: 600-1960, Supplement [Women and Literature], 4, No.2 (Fall 1976), 146. Bibliographical data.
C42 Hofsess, John. "Escape from the Fifties: The Generation That Shaped Marian Engel Could Never Have Imagined Bear." The Canadian Magazine, 30 Oct. 1976, pp. 22-23. Hofsess looks at Engel's background and her major works. He views Engel as an atypical product of the fifties and connects this with what he sees as the theme of all her books: "... the clash of Eros with civilization. In each novel the central character is a woman who ... judges other characters by their sexual usefulness to her, and who surveys the world with a fierce, formidable and unforgiving intelligence." He also sketches a brief portrait of Engel, who says "'Until now I've been a historian of despair ... but I have hopes of becoming a high comedian.'"
C43 Mathews, Robin. "Le Roman engage: The Social/Political Novel." The Laurentian University Review/Revue de l'Universite Laurentienne, 9, No. 1 (nov./Nov. 1976), 22. Rpt. ("The Social Political Novel") in Canadian Literature: Surrender or" Revolution. By Robin Mathews. Ed. Gail Dexter. Toronto: Steel Rail, 1978, pp. 138-39. Mathews cites The Honeyman Festival among other novels which, consciously or not, champion women's liberation and present "women in a non-chauvinist way .... "
C44 Buller, Grace. "Profile: Marian Engel." In Review, 10, No. 1 (Winter 1976), 14-15. The profile contains biographical information, including references to Engel's early writing experience and her activity in The Writers' Union of Canada.
C45 McClung, M.G. Women in Canadian Literature. Women in Canadian Life. Toronto: Fitzhenry & Whiteside, 1977, pp. 60-62. This book gives a brief introduction to Engel, including short descriptions of No Clouds of Glory, The Honeyman Festival, Monodromos, and Bear. "The basic material of her novels is the lives of women she has observed, raised in the forties and fifties like herself and not really prepared for all the facts of life, nor for women's liberation."
C46 Moss, John. Sex and Violence in the Canadian Novel: The Ancestral Present. Toronto: McClelland and Stewart, 1977, pp. 6, 74, 75. In a brief reference in the Preface, Moss notes that, although this study ends at 1975, Engel's "brilliantly eccentric Bear, published in 1976, would fall comfortably within the range of my discussion, being concerned as it is with bestiality and the quest for self and sexual satisfaction." In a chapter on Margaret Laurence, The Honeyman Festival is briefly and unfavourably compared to Laurence's The Fire-Dwellers. In The Honeyman Festival, "the resolution" of Minn Burge's "split-consciousness" (she is a house "drudge" with "exotic memories of a tinsel-glamour past") "is inevitably both overblown and anti-climatic ... Minn is inherently patronizing for she is only a housewife and mother through bad luck."
C47 Woodcock, George. "Possessing the Land: Notes on Canadian Fiction." In The Canadian Imagination: Dimensions of a Literary Culture. Ed. David Staines. Cambridge, Mass.: Harvard Univ. Press, 1977, pp.91, 95. Rpt. in The World of Canadian Writing: Critiques & Recollections. By George Woodcock. Vancouver: Douglas & McIntyre, 1980, pp. 35, 38. Engel is cited among others as a nationalist writer. Bear is also cited among other works which "embody the difference between realism and a reality that is not merely material, between literal credibility and imaginative authenticity." Bear is "entirely authentic once one has taken the initial step of suspending disbelief
C48 Parent, Greg. "Marian Engel: Now Nearly Famous." The Windsor Star, 29 Jan. 1977, p. 43. While "in Windsor recently for a reading at the University of Windsor," Engel spoke about Bear ("When I sent it off I didn't know whether it was anything or not"), as well as about "men, women writers, feminists and the Toronto literary scene."
C49 French, William. "Female Authors Mauled in Pan of Engers Bear." The Globe and Mail [Toronto], 29 March 1977, p. 14. French comments on Scott Symons' extended review of Bear (D74). "In the process of demolishing Bear with a vengeance that is rare in Canadian criticism -- or in that of most other countries, for that matter -- Symons takes on several other women writers, and Canadian literature generally, and leaves the battlefield strewn with victims ... " Engel "derides the genteel tradition in Canadian culture, with its English roots. In the novel, it is symbolized by the octagonal house in the wilderness, with its splendid library ..." Lou "calls it colonial pretentiousness."
C50 Adachi, Ken. "Marian Engel Wins the Top Book Award." The Toronto Star, 27 April 1977, p. G1. Adachi notes that Engel "will receive a Governor-General's Award for her fifth novel, Bear, and that it will be published later in 1977 by Seal Books.
C51 "Engel." In 1976 Bibliography of Literature in English by and about Women: 600-1960, Supplement [Women and Literature], 5, No.2 (Fall 1977), 144. Bibliographical data.
C52 Gottlieb, Lois C., and Wendy Keitner. "Demeter's Daughters: The Mother-Daughter Motif in Fiction by Canadian Women." Atlantis: A Women's Studies Journal/Journal d'Etudes sur la Femme [Acadia Univ.], 3, No.1 (Fall/automne 1977), 137-38. Gottlieb and Keitner build on the analyses of Phyllis Chesler, in Women & Madness, and Adrienne Rich, in Of Women Born: Motherhood as Experience and Institution. "Rich and Chesler concur that the reduced powers and status of mothers in modern society" lead to a patriarchal society, in which "... daughters have been denied the courageous, strong, miraculous mother of Demeter who defies and triumphs over destructive male powers." As well, Gottlieb and Keitner explore "the loss of an inheritance of strength because 'mothering' has been equivalent to crippling the daughter ..." Engel's The Honeyman Festival is discussed, along with a number of other novels by Canadian women. Minn reacts against the "strong, aggressive, commanding and dictatorial image of her mother," but comes to recognize her mother's legacy, however ambivalently, and is able "to retrieve the positive aspects of Gertrude's strong model of womanhood."
C53 Martin, Sandra. "How Did Marian's Discreet Novel Get That Brazen Cover?". Saturday Night, Nov. 1977, pp. 29-30. A critical look at the publisher's reasons for choosing the cover illustration used on the softcover edition of Bear.
C54 Cameron, Elspeth. "Midsummer Madness: Marian Engel's Bear." Journal of Canadian Fiction, No. 21 (1977-78), pp. 83-94. Cameron contrasts the " 'winter life'" of Lou's work with the "'summer life'" of nature in the Canadian North. "Once her despair at the emptiness of her ordered, deathly 'winter life' outweighs her fear of madness and anarchy, Lou gradually abandons herself to a saturnalian 'summer life' on Cary's Island." The relationship with the bear is an allegory for making contact with pre-history and accepting the primitive forces in herself and the world. The book follows in the tradition of Margaret Atwood's Surfacing, Robertson Davies' The Manticore, and Rudy Wiebe's The Temptations of Big Bear, in which "a primitive truth ... is uncovered by stripping away an imported and imposed tradition" Cameron notes that Scott Symons "obscures this central theme of Bear" (D74). She observes that "... the opposition of a 'winter' world of order and a 'summer' world of anarchy places Bear in the tradition of a midsummer madness which, though temporarily chaotic, leads to a higher sanity ... When the novel is viewed in this context, Scott Symons' deterministic reading of it as an example of unresolved 'gangrene of the soul' -- a 'life failure' -- is inadequate:' On the contrary, "... Bear shows the integration of an alienated personality through contact with a vital natural world beneath the social order ... Returning to the 'winter' world, Lou will cope as an integrated human being."
C55 Atwood, Margaret. "The Curse of Eve -- Or, What I Learned in School." In Women on Women. Ed. Ann B. Shteir. Toronto: York Univ., 1978, pp. 15-16. Rpt. in Second Words: Selected Critical Prose. By Margaret Atwood. Toronto: House of Anansi, 1982, pp. 217-18. Atwood notes that Minn, in The Honeyman Festival, "was not seen as an acceptable role model [by other critics], and the book lost points because of this."
C56 Hutchinson, Ann. "Marian Engel, Equilibriste." Book Forum [New York], [Canadian Emergent: Literature Art], 4, No. 1 (1978), 46-55. Hutchinson examines Engel's major works up to Bear, ending with the recent story, "Madame Hortensia, Equilibriste" (B21), a piece which ties together "most of her important concerns ... The story, itself an intricate balance structurally and thematically, epitomizes the dilemma of the woman and the artist." Biographical information is included.
C57 Cowan, Doris. "The Heroine of Her Own Life: The Force That Ripples Through Marian Engel's Novels Is the Power to Speak in Her Own Voice." Books in Canada, Feb. 1978, pp. 7-10. This article, which is based on an interview, identifies Engel's distinctive quality as "the power to speak in her own voice." Cowan notes Engel's comments on her books, her attitude toward writing, her Writers' Union activities, the thematic progression in her novels, her attitude toward marriage, and the autobiographical element in fiction.
C58 Watt, Frank. Panel member. The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary. 17 Feb. 1978. Printed in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, pp. 124, 127-28. In a panel discussion on "The Regional Novel: Borderline Art," Watt responds to Engel's remarks (B122) and comments briefly on regionalism as exemplified in some of Engel's books: Monodromos ("her best book") and Bear, in which she created "a region where it is possible for the human and the natural to interact in especially distinctive ways."
C59 Ross, Malcolm. "The Ballot." The Calgary Conference on the Canadian Novel, Univ. of Calgary, Calgary. 18 Feb. 1978. Printed (Appendix) in Taking Stock: The Calgary Conference on the Canadian Novel. Ed. Charles R. Steele. Downsview, Ont.: ECW, 1982, p. 152. Engel's Bear was listed among the top one hundred Canadian novels on the ballot.
C60 Morley, Patricia. "Engel, Wiseman, Laurence: Women Writers, Women's Lives." World Literature Written in English [Univ. of Texas at Arlington], [Women Writers of the Commonwealth], 17 (April 1978), 154-56, 163. In the first section of this article, Morley looks at Bear as an example of the depiction in fiction of "women's lives, their fears and hopes and needs, their strengths and weaknesses, the occupational hazards peculiar to being female." Bear is Engel's best work to date, and androgyny is a major theme of the novel.
C61 Peredo, Sandra. "Are We Getting Our Money's Worth from the Canada Council?: You Be the Judge." Financial Post Magazine [The Financial Post] [Toronto], [13] May 1978, pp. 52-55. Peredo looks at several recipients of Canada Council grants, with the aim of informing the public about how the government is spending our money. The dates and amounts of Engel's grants are listed, and an explanation is offered for the specific reasons for Engel's first grant and for Canada Council grants in general.
C62 Sears, Val. "How Can Marian Top Bear? She Has Invented a Nun and Put Her in Order." The Toronto Star, 28 May 1978, p. D4. Prior to the publication of The Glassy Sea, Engel talks about her life in recent years in Toronto and her current life as writer-in-residence at the University of Alberta. She comments on her invention of the Eglantine Order which figures prominently in her forthcoming novel, and mentions the origin of the title for Lunatic Villas.
C63 French, William. "Engel Casts Hope in the Glassy Sea." The Globe and Mail [Toronto], 29 Aug. 1978, p. 12. This article, written before the publication of The Glassy Sea, includes brief comments about the novel, background on the writing of the book, and information about Engel's stay at the University of Alberta as writer-in-residence.
C64 "Engel." In 1977 Bibliography of Literature in English by and about Women: 600-1975, Supplement [Women and Literature], 6, No.2 (Fall 1978), 98. Bibliographical data.
C65 Dooley, D.J. Moral Vision in the Contemporary Novel. Toronto: Clarke, Irwin, 1979, pp.ix-x, 155, 156. In the Introduction, Dooley refers to "Scott Symons' celebrated attack on Engel's Bear" (D74) as an example of criticism based on a demand that the author create "a convincing social and moral context" for her characters. Later, in a discussion of "the inhibiting effects of Calvinism," Dooley quotes from Engel's interview with Graeme Gibson (C174) where she speaks of being "Canadian in the pejorative sense of being moralistic and limited."
C66 Marshall, Tom. Harsh and Lovely Land: The Major Canadian Poets and the Making of a Canadian Tradition. Vancouver: Univ. of British Columbia Press, 1979, pp. 168-69. Bear is briefly mentioned in a discussion of the ways in which "The poet-novelists have helped to enlarge in Canada the possibilities of fiction." Bear is one of a number of novels listed as "The most experimental (or in some cases, startling) new Canadian fiction." Bear's indebtedness to Surfacing is noted.
C67 "Engel." In 1978 Bibliography of Literature in English by and about Women: 600-1976 [Women and Literature], 7, No. 3 (Winter 1979), 193. Bibliographical data.
C68 McCullough, David W. "Marian Engel." In his People, Books & Book People. New York: Harmony, 1980, pp. 54-55. Engel, a "hardworking, serious" novelist, "might have been unknown last year," but Bear has been a "best-seller' and has appealed to nationalists, Jungians, and feminists. Engel was tempted to write it because friends "started telling bear stories. Then someone said I'd never be able to pull off a love story between a woman and a bear." At first, the building in Bear was "'a huge stone castle, but Gothic castles are getting pretty common in fiction these days and this one had to be special. So I built a classic Fowler octagon.'... A point she also makes in the novel is that Canadians live two lives, 'of completely different quality,' winter lives and summer lives."
C69 French, William. "CanLit's Female Flagbearers Win Salutes from Australia." The Globe and Mail [Toronto], 6 April 1980, p. 19. Engel was Canada's representative at the biennial Adelaide Festival in Australia. Her three-week visit to Australia was financed by Canada's External Affairs Department. Engel's lecture was on "the dominance of women writers in the Canadian literary scene, with emphasis on Atwood, Engel, Laurence and Munro." She found Australians interested in Canadian writing, but the books difficult to obtain, and noted that "... many of the problems discussed by Australian writers during the week were painfully familiar," including the insufficiency of government assistance and the impossibility of earning a living as a writer.
C70 "Writing's a Lonely, Lonely Job, So Bear Author Engel Looks Forward to Making New Friends as Writer-in-Residence" The Bulletin [Univ. of Toronto], 22 Sept. 1980, p. 5. In this article, which is based on an interview, Engel comments on the disorientation she feels when a book is completed, her dissatisfaction with The Glassy Sea, her financial problems ("'I've always been poor ... and I've always hated it'"), her hopes for her year as writer-in-residence at the University of Toronto, and on the difference between academics and writers: "'Academics think there are rules for writing books. They're used to dealing with what's there, not to constructing what's not there.'"
C71 Moss, John. A Reader's Guide to the Canadian Novel. Toronto: McClelland and Stewart, 1981, pp. 69-72. Bear "is not a great novel, in some ways not even a very good one, yet there is something entirely engrossing' in Engel's "spontaneous" and "timeless" story. "Engel does not build mood or character or theme." Two important elements are "the legacy of women's past, and how it affects Lou in the present" and Lou's mythical confrontation with "the beast within as a separate creature" through which she "learns that she can live comfortably with the knowledge of its presence -- and therefore live without it." With The Glassy Sea, "... Engel moves to the front rank of Canadian writers, a solid and respectable body of work behind her, and a work of courage and beauty to her lasting credit." The novel shows wit, humour, and a "delight in language." The rhetorical delivery of the book's conclusion is "entirely justified by the nature of the woman who utters it ... It is a powerful and yet curiously temperate statement of conviction ... Engel's range includes the comic and the tragic, the earthly and the transcendent, the soul and sexuality. She writes of the whole woman in a society still determined to sever her into pieces, and discard these pieces when used."
C72 Andreani, Patrizia. "Lettura di Bear di Marian Engel." In Canada: L 'Immaginazione Letteraria. Ed. Alfredo Rizzardi. Abano Terme: Piovan Editore, 1981, pp. 249-56. The article is written in Italian. Andreani traces and interprets Lou's journey from when she is a creature suspended in the void, through a process of rebirth, to purification. Lou's journey can be characterized as a flight, which is at once a journey into the inner self and into the centre of the culture, in search of a mythical lost Eden. Lou moves from passivity and inertia by the action of thought and memory, which leads her to the extreme limits of personal and collective history where a new past is initiated.
C73 Woodcock, George. "Casting Down Their Golden Crowns: The Novels of Marian Engel." In The Human Elements. 2nd ser. Ed. David Helwig. Ottawa: Oberon, 1981, pp. 10-37. Woodcock begins by noting "I suspect that the reason why we are reluctant to discuss them [Engel's novels] is that they are so clearly written, so simply formed, so deftly patterned in window-pane prose, that they appear to be more transparent than in fact they are ..." All of Engers novels up to, but not including, Lunatic Villas are discussed. Like the French recit, Engel's novels "are simple, patterned, stylized, moralist, as the masterpieces of minor French fiction have been in our time ..." Her literary ancestors, however, are English: Jane Austen, Daniel Defoe, Aphra Behn. In all of Engel's novels, "... the point of view is consistently that of the heroine." Engers subject is "women who become conscious of the need to find their way through emotional predicaments that derive from their particular roles as women in the modern world." Woodcock describes the main character in each novel and notes that "In terms of the typology of situations, one can see Marian Engel's six novels as a gallery of feminine roles in late twentieth century western society." Some recurrent themes and techniques in the novels are noted: Leah in No Clouds of Glory is "the prototype of a series of blonde bitches"; and "There is already in The Honeyman Festival a characteristic and almost obsessive preoccupation with physical objects as the correlatives of mental states; it recurs in Engel's later books and gives some of its special solidity to her narrative manner." Engel's two most recent novels (Bear and The Glassy Sea) are substantially better than her earlier works. Both "are written with a brilliance of craftsmanship so sustained and so spare that they emerge as marvelously luminous and self-sufficient artifacts." Bear is examined in the context of Canadian animal stories. While "Bear is a fable of reconciliation with the natural world to which by origin we belong, The Glassy Sea is a psychological novel about the search for the spiritual perfection to which we aspire." In The Glassy Sea, a "beautifully concise novel where every word tells and adds, the compassion, the lyricism, the resonance of prose that characterize Engel's novels throughout are brought together in their most powerful expression."
C74 Woodcock, George. Taking It to the Letter. Montreal: Quadrant, 1981, pp. 53-54, 56-58, 66-67, 67-69, 71-72. Five letters to Marian Engel are included in Woodcock's "selection of letters to Canadian writers which would help to show with an inner eye something of the literary community in Canada as it exists in human terms." The letters centre on Woodcock's resignation from The Writers' Union over the Margaret Atwood Fraser Sutherland-Northern Journey controversy (see William French [C102]).
C75 Corbeil, Carole. "Marian Engel: U. of T. Writer-in-Residence Continues to Mention the Unmentionables." The Globe and Mail [Toronto], 14 Feb. 1981, p. E3. This article is based on an interview and combines the standard biographical information with insights into Engel's life and aspects of her work. In The Glassy Sea, "Engel tried to analyse the ways in which perfection can be achieved ... it is an interesting question: whether one should take the road of contemplative mysticism or the harder road of seeking, through one's concrete efforts, to perfect terrestrial life." No Clouds of Glory "now gives her a 'slight' sense of embarrassment." Engel likes writing for Chatelaine's audience: "'... they're often rural and conservative, but I still don't think they mind it when I mention the unmentionables""
C76 "Marian Engel: Still Writing Forbidden Words." The Vancouver Sun, 20 Feb. 1981, p. L34. This brief article about Engel at a busy productive period is based on an interview. Engel is writer-in-residence at the University of Toronto. At the same time, she is readying Lunatic Villas and The Islands of Canada for publication. Engel notes that "'... writing is very hard on you. The isolation is extreme. I've seen lots of people go mad ... My children make me cope.'"
C77 Ryval, Michael. "A Satiric Engel on Toronto Society." Quill & Quire, March 1981, p. 60. In an article based on an interview with Engel, Ryval notes that Engel mentioned the way her children's comments and suggestions have prompted her to write her latest books. Lunatic Villas, which was almost called "The Year of the Child," is "a reflection of Engel's own world, a portrait of a Toronto that is eternally renovating itself and whose families are in chaotic turmoil." Engel also discusses the genesis of The Islands of Canada. She comments on the problem of finding readers for Canadian books and forsees that "the financial problems of artists will worsen in the future." After the promotional tour, "There's a collection of short stories to tackle and two Conferences in April."
C78 Adachi, Ken. "The Versatility of Marian Engel." The Toronto Star, 8 March 1981, p. D12. This article is based on an interview on the eve of the publication of Lunatic Villas. "Certainly Marian Engel isn't the kind of writer who endlessly hones the same subject, producing clones of well-worn characters, plots and techniques." Adachi believes that "The novel, if any proof were still needed, confirms her status as a major Canadian writer willing to take large risks." Engel says "'I thought it [The Glassy Sea] would be a long philosophical novel, but I lost my grip on it.'" She also discusses aspects of Lunatic Villas, including the source of the title, the autobiographical elements, and her favourite passage (Marshallene on her prospects for remarriage). Engel talks about the genesis of Bear and her future plans, which include "a nonfiction book called Islands" and a new novel. Standard biographical information is also given.
C79 Lee, Betty. "Marian Engel: Writer at Work." Chatelaine, April 1981, pp. 55,168, 172, 174. In an article based on an interview, Engel comments on her work and her method of working. Lunatic Villas is "a book 'about the surrealism of everyday life ... I suppose you could even call the book a black comedy ...'" Lee notes that The Glassy Sea, Engel's "'misunderstood' book .... didn't quite work because her health was treacherously unstable while she was writing it and because she tried to do 'too much in too little space.'" Lunatic Villas began as a short piece for Weekend Magazine: Summer Fiction Issue ("Family Allowance" [B23]), followed by another "loosely connected tale" sold to Chatelaine ("Father Instinct [B24]). Writing it "was very much like one of my jigsaw puzzles." Engel's feelings are mixed about The Islands of Canada. She loves islands, but the library research involved is hateful because she "'can't make up what has to be written.'" When writing novels, Engel says," 'What I like is conjuring up worlds based on my world and seeing how far, like kites, they can fly.'"
C80 Strong, Joanne. "The Informal Marian Engel." The Globe and Mail [Toronto], 10 Oct. 1981, p.17. In this article based on an interview, Engel discusses the isolation of the creative process, the effect that being a mother has on her lifestyle, the "'creative-thinking period'" which precedes the actual writing of a book, and the difficulty of making a living as a writer.
C81 Ferguson, Alan. "Marian Engel Joins The Star." The Toronto Star. "Editor's Notebook," 28 Nov. 1981, p. A2. Ferguson introduces "a new Saturday columnist, the award-winning novelist, Marian Engel." After an extended anecdotal retelling of his efforts to approach Engel about writing a column, he assures us that "Though the column will appear in the Family Section, its sweep will not be limited to strictly family topics. There will, I think, be something for everyone to enjoy."
C82 Hluchy, Patricia. "Engel Follows Own Plot." The Toronto Star, 28 Nov. 1981, p. F1. Today, Engel, like her character Harriet Ross of Lunatic Villas, also "a divorced, middle-aged writer and single mother who writes a regular column ... ," begins work as a columnist for The Toronto Star. Engel's early journalistic experience as a reporter on high school events for the Sarnia Observer, and during university as a general reporter during summers for the same paper is recalled, and basic biographical information provided. "Engel promises to write a wide-ranging column that will examine 'how personal experience extends itself into general experience' and at times will explore the city she's lived in for 18 years."
C83 Cowan, S.A. "Return to 'Heart of Darkness': Echoes of Conrad in Marian Engel's 'Bear.'" Ariel [Univ. of Calgary], 12, No.4 (Oct. 1981), 73-91. Lou's "encounter with reality in the form of the wilderness" is archetypal, reminiscent of the confrontation with the "night of first ages" experienced by Marlow and Kurtz in Joseph Conrad's Heart of Darkness. Among the parallels between the two works are "the nature and means of the physical journey," the contrast between the "civilization" and the wilderness, and the theme of the interior quest. In both works, the recognition of the "very real boundary [that] separates the wilderness from man" is essential. Lou's regeneration is possible because she does not consummate her union with the wilderness (in the form of the bear). Cowan discusses "the imagery of light and direction in the last sentence of Bear ... The bear becomes the celestial guide of a woman who has achieved understanding of her place in life, and of her personal strength and worth."
C84 Irvine, Lorna. "Surfacing, Surviving, Surpassing: Canada's Women Writers." Journal of Popular Culture, [Canadian Women Writers], 15, No. 3 (Winter 1981), 73, 74, 76. Irvine briefly refers to Engers Sarah Bastard's Notebook and The Honeyman Festival in this fictional interview exploring the "reasons for the excellence of English Canada's women writers."
C85 Woodcock, George. "Engel, Marian (Ruth)." In Contemporary Novelists. Ed. James Vinson. 3rd ed. New York: St. Martin's, 1982, p. 203. Bio-bibliographical data.
C86 "Engel, Bissell Share $5,000." The Globe and Mail [Toronto], 25 Feb. 1982, p. E3. "Marian Engel and Claude Bissell will share the $5,000 Toronto Book Awards prize as authors of the best books published during 1981 dealing with some aspect of life in Toronto." Engel won for her novel Lunatic Villas and Bissell for his biography The Young Vincent Massey.
C87 "Massey Biography Shares Prize." The Toronto Star, 25 Feb. 1982, p. B8. This is a brief announcement that Claude Bissell and Marian Engel will share The City of Toronto Book Award.
C88 Gadpaille, Michelle. "A Note on 'Bear.'" Canadian Literature, [Fiction in the Seventies], No. 92 (Spring 1982), pp. 151-54. "By the end of the novella, what Lou brings back from her sojourn on Cary's island has at least as much to do with the library as with the more spectacular bear." Colonel Cary had built a "classic Fowler's octagon" with a "perfect library for its period." The contained, rational, orderly design of the house contrasts with the "fungus of outbuildings behind the house" as the "perfect library" contrasts with the cryptic notes which drop from the books. "Both the practical-idealistic octagon and the typical nineteenth-century library are inadequate receptacles for whatever mode of life and thought Colonel Cary created on his island m an inadequacy which Lou strives to understand" Gadpaille shows how Bear illuminates some of the dilemmas of romanticism: the gap between idealized plan and achievable reality, between irrational intimations and practical, categorical information, for which Colonel Cary's house and the structures which grow up behind it form an objective correlative.
C89 Hair, Donald S. "Marian Engel's 'Bear.'" Canadian Literature, [Fiction in the Seventies], No. 92 (Spring 1982), pp. 34-45. The "conventional action of romance -- the quest in search of a treasure which is guarded by a monster -- lies behind the action" of Bear. It also contains a pattern central to Canadian literature: the journey from south to north, from urban wasteland to bush garden. Geometric patterns, particularly square and circle, are important. The octagonal house is remarkable for its geometric symbolism: "... the octagon was a symbol of unity and perfection.., and was thought of as showing the way toward the integration of all things." The levels of the house are related to memory, body, and mind, and the bear is central to the process by which Lou achieves an integrated personality. "In the bear.., body and mind are thoroughly integrated, and he is, therefore, an appropriate creature to preside over Lou's renewal." Other patterns are found in the novel: the Doppleganger is conventional in romance, and Hair finds it in Lou's "awful, anarchic inner voice." The "union of opposing forces in her [Lou] comes about by a process which is conventional in romance: metamorphosis ... Here, as Lou is healed and becomes whole, the bear is gradually fragmented ..." Aspects of eating are also explored since "The consumption of flesh is, after all, the ultimate metamorphosis, and this act, rather than the putting on of fur, is the best indication of Lou's change."
C90 Carroll, Joy. "Author to Author: Hey, Lay Off the Romance Novels." The Toronto Star, 4 July 1982, p. G10. This is a humorous response to Engel's attack on Harlequin romances, "Unreality Overdoses Don't Help" (B161). Carroll defends, not the quality of romance writing, but "the underlying psychology ... and the reader's right to wallow in it without being patronized:' See (B167) for Engers response.
C91 Adachi, Ken. "Authors Paying Tribute to Their Editor/Hero?" The Toronto Star, 16 Nov. 1982, p. F3. In this note about the contributors to Tasks of Passion: Dennis Lee at Mid-Career (see B136), Adachi briefly notes that "Two publishers turned down Marian Engel's second novel The Honeymoon [sic] Festival; Lee revived it" with careful editing.
C92 Laurence, Margaret. "Catcher in the Corn." Letter. Books in Canada, Nov. 1982, p. 33. Laurence mentions a number of writers who influenced Canadian literature and learned their trade "without the benefit of instructive workshops?' See C99 for Engel's inclusion among the women listed.
C93 Dahms, Moshie. "Canada." Journal of Commonwealth Literature, 17, No. 2 (Dec. 1982), 74, 82. Bibliographical data.
C94 New, W.H. Introduction. In "Canada." By Moshie Dahms. Journal of Commonwealth Literature, 17, No. 2 (Dec. 1982), 54, 59. New mentions Lunatic Villas as one of a number of novels for whose writers "comedy is a means of sustaining perspective on a world gone wry as much as askew." He also mentions The Islands of Canada in a paragraph on nonfiction picture books.
C95 "Novelist Among 3 Awarded Top Honour." The Globe and Mail [Toronto], 24 Dec. 1982, pp. 1, 3. This article about the Governor-General's list appointing sixty-three people to the Order of Canada includes a photograph of Engel and reports that she has been appointed an Officer of the Order of Canada. (See Donna Olendorf [C108], Doris Anderson [C134], The Toronto Star [C150], Jean Ross [C183], and Awards and Honours [C206] for conflicting reports of this award.) "Among those appointed Officers are ... writer Marian Engel, recipient of Senior Arts Awards from The Canada Council in 1968 and 1972 and winner of the Governor-General's Award for Fiction for her novel, Bear, in 1976."
C96 "Engel, Marian." Who's Who in Canadian Literature 1983-1984 (1983). Bio-bibliographical data.
C97 Gadpaille, Michelle. "Novels in English to 1982: Other Works I." In The Oxford Companion to Canadian Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1983, p. 587. Engel is cited as having written, along with Margaret Atwood, "the archetypal novels of female experience in the modern world ..."
C98 Hoy, Helen. Modern English-Canadian Prose. Vol.XXXVIII of American Literature, English Literature and World Literatures in English. Detroit: Gale, 1983, pp. 156-60. Bibliographical data.
C99 Laurence, Margaret. Letter. Books in Canada, Jan. 1983, p. 33. Laurence notes the editorial omission of various women writers, including Engel, from her previous letter (C92).
C100 Solecki, Sam. "Novels in English 1960 to 1982." In The Oxford Companion to Canadian Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1983, p. 584. Engel is briefly mentioned by Solecki, who finds her "essentially a one-note writer, treating emphatically and almost obsessively a woman's search for self-fulfillment and strongly portraying a female sensibility." Engel's moralistic, didactic intention "over-determines and simplifies the nature of the characterization (particularly of men), the symbolism, and plotting."
C101 Woodcock, George. "Marian Engel." In The Oxford Companion to Canadian Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1983, pp. 230-31. After a brief biographical introduction, Woodcock draws on material from his earlier article (C73) and comments on Engel's novels. They "are strongly concerned with the situation of women in society, yet they are not feminist so much as novels reflecting on the human condition from the point of view of women, with a woman in each case as the central character, and often as the narrator." Woodcock notes the influence of Engel's studies of French literature on "the form of her writing." The Glassy Sea "is perhaps Engel's best novel, beautifully concise and exemplary in the way every word tells and adds." Lunatic Villas is dismissed as an "entertainment" "Though Engel has an unusual gift for imaginative and truthful characterization, her prose style, with its excellent simplicity and perfect pitch, may well be her prime virtue as a writer."
C102 French, William. "After 10 Years, Writers' Union Goes in Style." The Globe and Mail [Toronto], 9 April 1983, Sec. Book, p. 3. In a feature-article written "As the Writers' Union ends its first decade and evolves with the times ...," Engel comments on the usefulness of the organization. French outlines the criteria for membership in The Writers' Union, resignations over various issues (see George Woodcock [C74]), union activities in support of public lending right and copyright revision, and services to individual members. An abortive union-sponsored project, "a collection of the union members' erotic fantasies ... did have an unforeseen consequence. Marian Engel's contribution was to be about a woman in a castle fantasizing about meeting a bear. Out of that idea grew her Governor-General's Award-winning novel."
C103 Adachi, Ken. "Writing in Canada: Is It a Man's World?". The Toronto Star, 29 May 1983, p. D10. In an article about the irrelevance of the Women and Words/Les Femmes et les mots Conference in Vancouver, Adachi briefly notes that Engel will be among the participants (see B179).
C104 Garebian, Keith. "Criticism: The Cause of Criticism Isn't Necessarily Helped When Its Champions Are Academics and Poets." Books in Canada, June-July 1983, pp. 28-29. In a discussion of Taking Stock: The Calgary Conference on the Canadian Novel, Garebian briefly notes that "The truest voices are those of the literary craftsmen (such as Eli Mandel, Robert Kroetsch, Marian Engel, and Rudy Wiebe) who opt for the infinite complexities of humanity rather than for thesis patterns." (See B121 and B122.)
C105 "Authors Want Slice of Library Action." The Globe and Mail [Toronto], 16 Sept. 1983, p. E9. Engel is one of those quoted (others include June Callwood, Joe Rosenblatt, Robertson Davies) at a public rally in front of the Metropolitan Toronto Public Library "aimed at getting a tiny cut of profit on books loaned by public libraries."
C106 French, William. "Brothers and Sisters of the Pen, Arise!". The Globe and Mail [Toronto], [15] Oct. 1983, Sec. Fanfare, p. 3. In this article about writers' lobby for Payment for Public Use (PPU) in the libraries, French briefly notes that, among The Writers' Union members, Engel, in particular, "had been doing some intense lobbying to convert librarians to the cause."
C107 Marshall, John. "Background -- The Library Context." In Citizen Participation in Library Decision-Making: The Toronto Experience. Ed. ,John Marshall. Dalhousie University School of Library Service, No.1. Metuchen, N.J.: Scarecrow, 1984, p. 55. In 1975, "... two more reform members were appointed [as trustees to the Toronto Public Library Boardl: Marian Engel (noted author, feminist, nationalist), and Becky Kane ..."
C108 Olendorf, Donna. "Engel, Marian 1933- ." In Contemporary Authors: A Bio-Bibliographical Guide to Current Writers in Fiction, General Nonfiction, Poetry, Journalism, Drama, Motion Pictures, Television, and Other Fields. Gen. ed. Linda Metzger. New Revision Series. Vol.XII. Detroit: Gale 1984, 162-64, 167. Olendorf provides bio-bibliographical data, describes Bear, The Glassy Sea, and Lunatic Villas, and quotes from numerous critical responses to these books. "Engel was made an officer of the Order of Canada, 1982." (See The Globe and Mail [C95], Doris Anderson [C134], The Toronto Star [C150], Jean Ross [C183], and Awards and Honours [C206] for conflicting reports of the Order of Canada award.)
C109 Stuewe, Paul. Clearing the Ground: English. Canadian Literature After Survival. Toronto: Proper Tales, 1984, p. 33. The thematic approach to criticism admonishes the writer to "'use clear and significant themes.'" Bear is "perhaps the most obvious example" of works which reflect this influence.
C110 Findley, Timothy. "The Tea Party or How I Was Nailed by Marian Engel, General Booth and Minn Williams Burge." Room of One's Own, [Special Issue on Marian Engel], 9, No. 2 (June 1984), 35-40. Findley reminisces about his friendship with Engel, which began with the formation of The Writers' Union of Canada, Engel's two reviews of his novel The Butterfly Plague (B200a and B204), and his correspondence with her when she was writer-in-residence at the University of Alberta. "The Honeyman Festival is quintessential Marian Engel." Her books are generally "kitchen table books" and "Minn Williams Burge ... is a stunning creation -- a woman utterly cut from the whole cloth of fiction ... whose musings ... are among the wisest, funniest and most despairing musings put into print, these last few decades .... " Engel "is a consummate stylist with something to say."
C111 Munro, Alice. "An Appreciation" Room of One's Own, [Special Issue on Marian Engel], 9, No. 2 (June 1984), 32-33. Munro recalls the exhilaration her first reading of No Clouds of Glory and The Honeyman Festival gave to her. "You have to remember how shunned, despised, misused this material ["the lives of women at their most muddled' was at that time .... That is, there was no way to deal with it, nobody wanted to hear about it, unless you sugared it up or turned yourself inside out with wisecracks or wheedled your way around the reader with the most insistent irony and self-deprecation. Marian Engel's bravery, in tackling this, her skill in pulling it off, seemed to me quite revolutionary. She gave me the feeling that I hadn't quite understood what was possible."
C112 Stambaugh, Sara. "Marian in Edmonton." Room of One's Own, [Special Issue on Marian Engel], 9, No. 2 (June 1984), 54-57. Stambaugh writes a personal, affectionate, and anecdotal reminiscence of Engel's stay in Edmonton as writer-in-residence at the University of Alberta, illuminating the germination of Lunatic Villas. "Needless to say, parrots, concern for the children, nostalgia for Toronto, and Queen Victoria on a bicycle all appeared in due course in Marian's subsequent novel, Lunatic Villas."
C113 Wachtel, Eleanor. Introduction. Room of One's Own, [Special Issue on Marian Engel], 9, No.2 (June 1984), 2-3. Wachtel recalls Engel's strong anti-censorship response to Wachtel's article on censorship (B125) and her modified perspective at the Women and Words/Les Femmes et les mots Conference, which illustrate "... Marian's commitment to writing and to women. She not only reads feminist magazines but will engage with them. She is willing to make herself accessible ... And she is one of the few writers of fiction in Canada to tackle feminist issues head on, in such books as The Glassy Sea."
C114 Wengle, Annette. "Marian Engel: A Select Bibliography." Room of One's Own, ]Special Issue on Marian Engel], 9, No. 2 (June 1984), 92-99. Bibliographical data based on an early draft of this bibliography, excluding secondary sources.
C115 Woodcock, George. "Casting Down Their Golden Crowns: Notes on The Glassy Sea." Room of One's Own, [Special Issue on Marian Engel], 9, No. 2 (June 1984), pp. 46-53. The Glassy Sea is "a book exceptional in its intensity and its almost perfect crafting ..." Engel's typical subject of "women caught in crises, and usually the crisis of a failed marriage," produces "a remarkable meditation on faith, hope and charity and on the impossibility of being Mary if you are indeed Martha." Woodcock finds the book "an extraordinary study of the way society shapes the expression of religious impulses and often turns them awry." He charts the progress of Rita Heber's religious life through the aspects in her of Mary, Martha, and Pelagia. When she becomes Mother Superior of her former convent, which will serve as a shelter for women, she accepts the life of service. Despite its focus on one woman's experience, The Glassy Sea has universal application for any sensitive reader. Engel succeeds in creating a convincing protagonist in an intensely credible world. The Glassy Sea "is beautiful, concise, and positively exemplary in the way every word tells and adds; the compassion, the lyricism, and the resonance of prose that throughout characterizes Engel's novels find here their most flawless expression:' It is "Engel's prose style, with its excellent simplicity and perfect pitch" which may "be her prime virtue as a writer."
C116 Abley, Mark. "A Monument for Engel's 'Canon.'" The Globe and Mail [Toronto], 20 Oct. 1984, p. E21. In a discussion of Room of One's Own' s special issue on Marian Engel, Abley notes that Engel "writes 'serious' books with a strong sense of the ridiculous; ... her prose can be both loquacious and curt." "The Smell of Sulphur" "has the sensuous density of most good fiction, along with that wry, hungry search for understanding that typifies Engel at her best. 'Under the Hill'... returns to one of her favorite themes: the value of a full individuality which we too easily dismiss as 'eccentric.' ... Sophie, 1990 ... was rejected by Chatelaine -- with good reason alas." Engel "deserves sensitive but tough-minded criticism, and she does not receive it here."
C117 Goidfarb, Sheldon. "Why Writers Write." Letter. The Globe and Mail [Toronto], 24 Nov. 1984, p. 7. Goldfarb responds to Engel's "A Plea to Stop Turning the Knobs on Writers' Closets" (B182), noting that "Any writer worth her salt is desperate to be found interesting right now, or why else does she publish her soul to the world?" If her fiction is "any good, [it] will reveal more about her inner life than we will ever get to know about even our closest friends."
C118 Owen, I.M. Letter. Books in Canada, Dec. 1984, pp. 32-33. Owen responds to Engel's letter (B183) criticizing his review of Matt Cohen's The Spanish Doctor.
C119 Fitzgerald, Judith. "Gifted Women Show Strength of Feminism." The Toronto Star, 22 Dec. 1984, p.H4. In a comment on Women and Words: The Anthology/Les Femmes et les Mots: Une Anthologie, Fitzgerald pays particular attention to "Marian Engel's superbly controlled 'Banana Flies' ... Under a lesser hand, the story would have lapsed into little more than a catalogue of sorrow and success; here, narrative rhythm reiterates Engel's command of content and craft."
C120 Van Varseveld, Gail. "Snakes and Irises." Rev. of Room of One's Own, [Special Issue on Marian Engel], 9, No.2 (June 1984). Broadside [Toronto], Dec.-Jan. 1984-85, p. 15. Van Varseveld recalls a personal meeting in which Engel discussed "the impact the first books we read have on those of us who end up writers." Van Varseveld notes her preference for The Glassy Sea and The Honeyman Festival over Engel's other books. She comments on the previously unpublished stories included in the issue.
C121 Delbaere-Garant, Jeanne. "Decolonizing the Self in Surfacing, Bear and A Fringe of Leaves." In Colonisations: Rencontres Australie-Canada Ed. Pons and M. Rocard. Travaux de l'Universite de Toulouse-Le Mirail. Serie B; t. 07. Toulouse: Univ. de Toulouse-Le Mirail, 1985, pp. 67-78. Delbaere-Garant examines the similarities in Margaret Atwood's Surfacing, Marian Engers Bear, and Patrick White's A Fringe of Leaves. These novels are "about a journey into the wilderness which involves an exploration of the extreme limits of the self [and] the heroines'... return to the community as more authentic and self-confident human beings." Initially, the female protagonists have "fragmented personalities,' and the journey takes them from one half of their fractured self to the other." They move "from a secure and civilized place to a primitive setting, from the present to the past, from the mainland to an island." The heroines accomplish a "decreation or decolonizing of the self' by breaking away "from the patriarchal structures which threaten to define them." Although the journey of the heroine is structured like the mythic heroic quest, in which the movement is from natural to spiritual, they have no revelation of a transcendental world: if they are to find their freedom anywhere it will have in the end to be within the ordinary day-to-day reality of this one." The heroine's reversion in the wilderness to older forms of belief points to the inadequacy of the "male-oriented Judeo-Christian tradition" which, like the heroines, is "in great need of cleansing and unnaming." In the end, they must return to a "mainland" that is unchanged. Although the future is problematic, "The note of affirmation, though timid, is unmistakeable"
C122 Findley, Timothy. "Marian Engel and The Tattooed Woman." In The Tattooed Woman. By Marian Engel. Penguin Short Fiction. Markham, Ont.: Penguin, 1985, pp.vii-ix. Findley remembers Engel puzzling over which stories to choose for this collection. "Ultimately, she made the choice of 'unity.' The stories have a collective 'oddness' ... Her people lived apart, making their peace with life and what passed for life, with a kind of wonderful valour." Engel shows her characters' "hurt in ways that you would never forget."
C123 Helwig, David. Introduction. In 85: Best Canadian Stories. Ed. David Helwig and Sandra Martin. Ottawa: Oberon, 1985, pp. 5-6. This Introduction is devoted entirely to Engel, recalling her contribution to the first Oberon anthology, fifteen years previous (B7), her qualities of humanity, intelligence, openness, and tact, and her attempt, evident in her last years, to face the challenge of death.
C124 Keitner, Wendy. "Real Mothers Don't Write Books: A Study of the Penelope-Calypso Motif in the Fiction of Audrey Thomas and Marian Engel." In Present Tense: A Critical Anthology. Vol.Iv of The Canadian Novel. Ed. John Moss. Toronto: NC, 1985, pp. 185-204. "Nowhere in the [Canadian] literature written in English are women's current conflicts and competing loyalties more frequently and forthrightly analyzed, perhaps, than in the novels and short stories produced by feminist writers Audrey Thomas and Marian Engel." Keitner discusses "several of their most complex and interesting heroines ... [who] are creative women caught, like their authors, between the frequently incompatible functions of lover, mother and writer." They chart the middle ground "between those classical, male-defined extremes of womanhood: Penelope,... symbol of feminine virtue and chastity ... and ... Calypso, the 'hider,' symbol of sexual love and desire, holding out the offer of immortality and perpetual youth -- single, free, but finally abandoned by Ulysses, and unconsolable in her island loneliness." Sarah Porlock, in Engel's "complex, richly humorous, and insufficiently studied first novel, No Clouds of Glory," rejects the Penelope model exemplified by her mother, and by her "beautiful, married, near-twin sister, Leah, just ten months her elder." As well, she rejects the example of her sexless mentor. "What Engel's daring first novel illustrates, finally, is not that women have become 'halved,' but rather that we are 'atomized.' ... The lives of Thomas' and Engel's writer-mother heroines expose some of the cracks in the mould of the new Superwoman ... Engel's most detailed studies of that complex and endangered creature, the writer-mother, are located in her racy, cumulative portraits of Marshallene Heber, Osborne Peacock ... and again in her sympathetic and sensitive presentation of the journalist Harriet Ross ... "Marshallene "plays the part of an unfulfilled Calypso, longing for an end to 'this big white moonsize loneliness inside.'" Harriet is "both a reluctant Penelope and an ambiguous Calypso ..." The work of Thomas and Engel "points towards ... neither a return to a romanticized past nor a simple fusion of the roles and responsibilities of Penelope and Calypso; rather it ... calls for the invention of a 'new way of living' ..."
C125 McGregor, Gaile. The Wacousta Syndrome: Explorations in the Canadian Landscape. Toronto: Univ. of Toronto Press, 1985, pp.106, 128, 140, 143, 154, 184, 196, 297, 318, 321,325, 331-32, 347, 385-86,418,434-35. Engel's works are used to exemplify various patterns in Canadian literature.
C126 Thomas, Clara. "The Girl Who Wouldn't Grow Up: Marian Engel's The Glassy Sea." In Present Tense: A Critical Anthology. Vol. Iv of The Canadian Novel. Ed. John Moss. Toronto: NC, 1985, pp. 157-67. The Glassy Sea is the story of a woman who "in her forties ... finally comes to see that she must wake up, live and act, that the dream world of the roses she describes in its [The Letter's] writing has been her chosen refuge all her life." Thomas identifies elements of the "strong web of lore and literature" on which the novel is built: The Book of Revelation, the "strong and powerful fairy-tale motif of Sleeping Beauty" (especially as interpreting by Carolyn Heilbrun in Reinventing Womanhood), and the story of Rumpelstiltskin. Engel's evocation of Rita Heber's Southwestern Ontario background is "totally authentic ... And totally credible is Rita's overpowering need to escape -- idealistic, romantic and beauty hungry, there was nothing in past or present and nothing she could see in the future to answer her dream." Thomas outlines the ways in which the book's structure "sets up, sustains and fulfills the pleasurable suspense of a mystery story." The questions prompted by the Prologue are answered in The Letter and the Envoie. When Mary Pelagia decides to set up a half-way house for women, she ends her pattern of escape and accepts a role in the world. She is finally prepared to exercise power and take risks.
C127 Wilson, Jean. "Engel, Marian, nee Passmore, writer (b. in Toronto 24 May 1933)." In The Canadian Encyclopedia (1985). Brief bio-bibliographical data.
C128 "Marian Engel's Condition Listed as 'Quite Critical.'" The Globe and Mail [Toronto], 14 Feb. 1985, p. E3. The author notes that Engel is in intensive care at Toronto General Hospital.
C129 Adachi, Ken. "Canadian Author Marian Engel, 51, Gained Fame with '76 Novel Bear." The Toronto Star. "Obituaries," 17 Feb. 1985, p.A19. Engel was "a woman of great compassion, energy and talent ..." She was a "novelist, short-story writer, feminist, former Star columnist, first Chairman of the Writers' Union of Canada and indefatiguable champion of Canadian literature ..." Adachi notes that "... gritty fortitude and loyalty [were] two of the qualities that marked her entire life." Biographical information is provided and a list of her books, with special attention to critical responses to Bear (D59) and Engel's own comments on Lunatic Villas (C78), which Adachi views as the novel "that most vividly and warmly touched the autobiographical."
C130 Cohen, Matt. "Obituary." Sunday Morning. CBC Radio, 17 Feb. 1985. Cohen recalls his first impressions of Engel: "She struck me ... as a nineteenth-century lady novelist. She had a tongue that could be sweet or caustic, an acerbic wit, the ability to speak in paragraphs on any subject under the sun." He talks of her role in the formation of The Writers' Union. Engel "was not only the sweetly smiling woman in the photographs. To tell the truth, she was in many ways terrifying. Living in one person was not only the kind, maternal Marian Engel, but a writer of great talent struggling for time and space, a raging adolescent trying to overcome a terribly difficult childhood, a woman eager for love and acceptance, a human being already touched by the illness that would kill her." The novel she was working on would have been her best. She left "a legacy of fiction that can only grow in importance as readers discover in her books what they contain: eloquence, a razor wit, and, most of all, the courage to live without blinders."
C131 "'Bear' Author Marian Engel Is Dead at 51." The Gazette [Montreal], 18 Feb. 1985, p. B9. This obituary contains standard biographical information, including her education, receipt of the Governor-General's Award and City of Toronto Book Award, and chairing of The Writers' Union of Canada Lunatic Villas, "like many of her... [other novels], featured a woman protagonist beset by the practical and spiritual problems of forging a viable female trail -- often alone -- in the 20th century." Despite frequent financial problems, Engel turned out "a stream of work that earned her a top place in any list of Canadian authors."
C132 Downey, Donn. "Marian Engel: Author Wrote Best-Seller, Won Award." The Globe and Mail [Toronto], 18 Feb. 1985, p. 13. Downey notes that the "small-town Ontario conservative upbringing and a failed marriage were, perhaps, the dominant personal events in Ms Engel's life and they frequently crept into her writing." Lou's relationship with the bear in .Bear "had a decidedly sexual undercurrent but readers who were expecting a racy unravelling of bestiality were disappointed:' The "bear's sexuality simply served to contrast with the inadequacy of the human males in the heroine's life." Engel was not daunted by BeaFs success and "jumped immediately into writing" The Glassy Sea, which "was not as well received by the public." Excerpts from George Woodcock (C101), Sam Solecki (C100), and Alice Munro (Cl11) are included, as well as an excerpt from an article that Engel wrote for The Globe and Marl [Toronto] (B182). Biographical material is outlined in this obituary. Lunatic Villas "was almost bitter, but it was saved by Ms Engel's sardonic humor ..."
C133 French, William. "Engel Was Concerned about the Plight of Women." The Globe and Mail [Toronto], 18 Feb. 1985, p. S13. French pays tribute to Engel's "consummate craftsmanship, integrity and compassion" and to her commitment to Canadian literature and her activities in The Writers' Union. He comments on the effect of "her puritan background" and quotes from her interviews with Graeme Gibson (C174) and Alan Twigg (C181).
C134 Anderson, Doris. "I'll Always Remember the Joy of Marian Engel." The Toronto Star, 19 Feb. 1985, p. B1. Anderson recalls her friendship and professional relationship, as editor of Chatelaine, with Engel. She remembers her own pleasure when she came across Engel's "first published book," Engel's scorn for "'romantic plots with mushy endings,'" the contrast between the discipline of her writing and "her lifestyle... [which] was easy-going and a bit chaotic," and the enduring influence of "her small-town Ontario background." After brief references to Bear, The Glassy Sea, and The Honeyman Festival, Anderson notes that Engel left an unfinished novel and that "A book of short stories, The Tattooed Woman, will be published this summer." Engel displayed great gallantry during the last years of her illness. She "was supposed to receive the Order of Canada this spring' and wanted to go to Ottawa to receive it in person, not have "it brought to her bed." (See The Globe and Mail [C95], Donna Olendorf [C108], The Toronto Star [C150], Jean Ross [C183], and Awards and Honours [C206] for conflicting reports of this award.)
C135 "Memorial Service Feb. 28 for Novelist Marian Engel." The Toronto Star, 20 Feb. 1985, p. B1. This is a brief announcement of Engel's death, the time and place of the memorial service, and the literary award being established in her name.
C136 Lee, Dennis. "Reading Beyond Belief." Letter. The Globe and Mail [Toronto], 23 Feb. 1985, p. 7. Lee criticizes Donn Downey's obituary (C132) as a "mean-spirited" "pop psychologizing" "hatchet job of the tackiest kind," which suggests "that Ms Engel's fiction can be reduced to the fact that she was divorced ... As a reading of Ms Engel's passionate, nourishing, acerbically stylish novels, it is almost beyond belief."
C137 van Herk, Aritha. "Marian Engel's Pleasured Texts Will Live On." Calgary Herald, Final Ed., 23 Feb. 1985, pp. A9, A14. Aritha van Herk reminisces about Marian Engel, whom she first met when Engel was writer-in-residence at the University of Alberta. "Marian Engel was not sweet. She was tough, irascible and strong minded, a pleasant-looking but unbeautiful woman who always seemed to be thinking about imaginary worlds ... She was inevitably right, straightforward and quick and earthily funny ... The best novels live longer than people. Marian Engel's will. It's a small comfort but the only one there is."
C138 Adachi, Ken. "Atwood Launches Drive for Engel Award." The Toronto Star, 25 Feb. 1985, p. C2. Adachi notes the establishment of The Marian Engel Award "for literary achievement and for the encouragement of further production among women writers 45 and under (the age which Engel said was the time she most needed support)" Margaret Atwood launched the "fund drive for $50,000" with "a $1,000 donation." Engel's "last short story will be aired on CBC Radio's Anthology this Saturday night" (B359).
C139 Czarnecki, Mark. "Marian Engel's World." Maclean's. "Obituary," 25 Feb. 1985, p. 58. Czarnecki pays tribute to Engel, "a vital, courageous figure," who was "An advocate of both feminist and literary causes" and achieved "in her art much of the perfection she struggled towards -- and so richly deserved."
C140 French, William. "A Fitting Memorial for Engel." The Globe and Mail [Toronto], 26 Feb. 1985, p. M7. French notes that The Marian Engel Award for "a woman novelist aged 45 or under to recognize significant literary achievement and encourage future writing projects" is "most appropriate:' Engel "would undoubtedly have won early in her writing career, at a time when the financial and moral support would have been most beneficial." The award will be $5,000 or so each year." The committee "has set a target of $50,000 as an endowment," and Margaret Atwood, the first contributor, gave $1,000." "Engel's commitment to women's causes and to the welfare of writers is widely known, and the award is a fitting way of commemorating it." French notes the time, place, and date of the memorial service and several of the authors who will read during the service.
C141 Allison, Gay. "In Memoriam: Marian Engel, 1933-1985." The Canadian Forum, March 1985, p.4. Allison praises Engel's "feisty spirit, compassion and feminism combined with a sense of wit, honesty and joy in her struggle for truth ..."
C142 "Marian Engel: 1933-1985." Broadside [Toronto], March 1985, p. 2. Engel's "most significant contribution to literature was her exploration in serious, complex, imaginative prose, of the stuff of ordinary female life." Her activities with The Writers' Union, her "championing of writers' rights," and her "anticensorship position" are briefly noted.
C143 Millen, Judy. "Intense Interplay." Broadside [Toronto], March 1985, p. 11. Millen notes that Engel's contribution to Women and Words: The Anthology / Les Femmes et les Mots: Une Anthologie (B29), along with Penny Kemp's and J. Candis Graham's contributions, demonstrates the humour that "will come" to the women's movement.
C144 Weaver, Robert, and Gwendolyn MacEwen, guests. Marian Engel Tribute. Host Bronwyn Drainie. Anthology. Prod. Eithne Black. CBC Radio, 2 March 1985. Weaver and MacEwen reminisce about their relationships with Engel. Weaver, executive director of Anthology, speaks of his role as her editor, the bond formed by their small-town Ontario backgrounds, and his admiration of her forthrightness and the determination with which she fought her illness. MacEwen recalls their light-hearted, fun-filled refreshing friendship and recalls the poem she wrote for Engel in the summer of 1983, "The Yellow House" (C190). "Gemini, Gemino" (B359) is read, and an excerpt from Peter Gzowski's interview (C185) is replayed.
C145 Findley, Timothy. "In Memoriam: A Trial and a Joy." Books in Canada, April 1985, pp. 18-19. Findley pays tribute to Engel's courage and limitless sense of adventure in spite of the knowledge that "life after 50 was limited for [her]." Findley outlines the events of her life and career with the warm appreciation of a friend and colleague who has intimate knowledge of his subject. "Her portraits of [the] towns [of Southern Ontario] are always vital, caring, and honest to the last degree ... Her characters always kept in touch with the past -- with where they had to come from, the good and the bad of it -- and this was one of the salient factors that gave her characters their edge." She gained many honours for her work "But greater honours than these, perhaps, were -- and continue to be -- bestowed upon her by those who knew and loved her .... I can think of no greater example of the quiet courage in the face of more or less constant pain and of the desperate sense of losing life in a moment of creative resurgence."
C146 "The Marian Engel Award." Quill & Quire, April 1985, p. 64. An endowment fund has been established in Marian Engel's name. Margaret Atwood "initiated the fundraising drive with a generous donation of $1,000."
C147 Weaver, Robert. "In Tribute: Marian Engel." Quill & Quire, April 1985, p. 64. Weaver discusses the memorial service held in Engel's honour. He comments on her dedication to writing, The Writers' Union, and her friendships. "She was forthright in practical matters, complex in the subtle world of the imagination, and she wrote beautiful prose. Her academic training at McMaster and McGill stood her in good stead." The Glassy Sea and Lunatic Villas "were perhaps her most satisfying fictions. Short stories were not, I think, her primary concern, not as compelling for her as the novels. But she wrote short stories all her life, and the most successful of them are still to be published in the collection The Tattooed Woman ..."
C148 Laurence, Margaret. "For Marian Passmore Engel." Ethos, 1, No. 4 (Summer 1985), 2. "This issue of Ethos is dedicated to Marian Engel." Laurence pays tribute to the "courage, wit and understanding' of her friend and colleague, and to her "faith in good causes, faith in all the children and in younger writers, faith in the writing community for which she never ceased to work, faith in her own honest work of writing, perhaps faith in some kind of holy spirit that through her work she proclaimed."
C149 Atwood, Margaret. "Margaret Atwood Remembers Marian Engel." Saturday Night, Aug. 1985, pp. 38-40. Rpt. (revised- "Stealing Time: Marian Engel: Fragments from One Possible Memoir") in Encounters and Explorations: Canadian Writers and European Critics. Ed. Franz IL Stanzel and Waldemar Zacharasiewicz. Wiirzburg, W. Ger.: KSnigshausen and Lehmann, 1986, pp. 30-36. Atwood's reminiscences of Engel are punctuated by anecdotes and tributes from other writers: Alice Munro, Timothy Findley, George Woodcock, Jane Rule, Robert Weaver, Bryna Barclay, David Young, and Graeme Gibson. Atwood refers to Engel's "shattering early childhood" and her "adoptive parents." Engel's character is vividly evoked -- her forthrightness, her sense of decorum, her professionalism, her courage, humour, and honesty, and her zest for life.
C150 "Trudeau Gets Our Top Honour at Ceremony." The Toronto Star, 31 Oct. 1985, p. A12. In this report of appointments to the Order of Canada, Engel's award (C206) is listed as posthumous. 'The insignia was presented to her son, William Engel." (See The Globe and Mail [C95], Donna Olendorf [C108], Doris Anderson [C134], Jean Ross [C183], and Awards and Honours [C206] for conflicting reports of this award.)
C151 Warwick, Jack. "Le Mythe de la ville: Lunatic Villas de Marian Engel." Etudes Canadiennes/Canadian Studies [Univ. de Bordeau III], No. 19 (doc. 1985), pp. 207-12. The abstract to this article, which is written in French, notes that "M. Engel's Lunatic Villas can be read as the expression of a new founding myth of the Ontario metropolitan society. Another society is being born in the city whose values are feminine and material, no longer masculine as in the small towns of the province in the last century.
C152 Irvine, Lorna. "Colonial Metaphors: The Honeyman Festival and Lunatic Villas." In her Sub/version. Toronto: ECW, 1986, pp. 149-69. In "The Honeyman Festival and Lunatic Villas ... Marian Engel creates fictional worlds dominated by women who, in a variety of sometimes direct, sometimes oblique ways, represent Canada herself ... these novels present female sexuality and Canadian identity, often allegorically, as problems of a similar and related magnitude. Both novels illustrate Canada's contemporary political and cultural tensions ... Both novels are nationalistic and imply rituals that allow cultural differentiation ... These rituals are predominantly female and have to do with conservation, with mothers who look after children, with female imagination -- in other words, with female creativity." Irvine discusses Engel's representation of British colonialism and class systems and American and "phallocentric" domination in The Honeyman Festival, which is more ambivalent than Lunatic Villas, reflecting "the cultural and sexual confusions of the early 1970's ... Lunatic Villas is more consistently allegorical." The British colonial metaphors in Lunatic Vdlas are discussed. By the conclusion, the novel has effected "altered interpretations of male and female gender roles," as exemplified in the Roger-Olivia relationship. "Although Engel uses the genre [of the domestic or woman's novel], the characters she creates subvert it ..." As well, both novels "demonstrate fictionally the necessity of women's participation in the world ... Engel's novels suggest a rationale for the female literary character, and a new power for the female writer."
C153 Parker, Douglas H. "Common Concerns in Marian Engel's Children's Stories and Her Adult Fiction." Canadian Children's Literature / Litterature canadienne pour la jeunesse: A .Journal of Criticism & Review /Une revue de critiques et de comptes rendus, No.43 (1986), pp. 34-41. Engers works for children "reflect in miniature recurring concerns and themes found in her more 'adult'... novels." Adventure at Moon Bay Towers, a flawed "apprentice" piece, exhibits the same attitude of "boredom and/or anxiety within an urban setting' that is seen in No Clouds of Glory, The Honeyman Festival, Bear, and Lunatic Villas, as well as the subsequent acceptance of and "coming to terms with the notso-pleasant here and now rather than an escape from it." My Name Is Not Odessa Yarker is closer to the themes of Engel's adult works and is superior to Adventure at Moon Bay Towers. Geraldine is "a young version of the typical Engelian protagonist." The story presents the central conflict of Engel's novels, in which female protagonists strive "either to maintain or locate their identities in a hostile or uncaring world." Other similarities between My Name Is Not Odessa Yarker and the novels include emphasis on names and name changes, which in No Clouds of Glory and The Glassy Sea are "central symbols of identity change or loss," and the strength of the female protagonists, who are "vigorous, alive and defiant."
C154 Thomas, Audrey. Introduction. In The Honeyman Festival. By Marian Engel. Markham, Ont.: Penguin, 1986, pp. i-iv. Thomas notes, "I, like a great many women of my generation, did have.., the cruise director's attitude toward other people:' Minn exhibits this attitude. She "is too accommodating, too generous, too ready to make sure that everybody is happy ..." She "is true to the fag-end of the sixties and the beginning of the seventies ... " Thomas praises "Minn's (interior) comments" and the depictions of "what it felt like to be pregnant ..." Thomas pays tribute to Engel's personal qualities of intelligence and authority. "She is sorely missed."
C155 Adachi, Ken. "Grants Make Good Use of Funding." The Toronto Star, 17 Feb. 1986, p. D2. In a column devoted to Ontario Arts Council's new grants programs, Adachi also mentions "A worthy cause: It was a year yesterday that Toronto writer Marian Engel died of cancer at the age of 51. Her untimely death and the respect she had built up as a writer, feminist and champion of CanLit prompted her friends to begin raising funds for the Marian Engel Award ..." To date, $23,000 has been raised of a targetted $100,000, and "... the first award will be presented next year by jurors Margaret Laurence, Jane Rule and Timothy Findley."
C156 French, William. "Crash Course in CanLit Tailored for Uncle Sam." The Globe and Mail [Toronto], 18 Feb. 1986, p. C9. "A year after Marian Engel's death -- she died on Feb. 16 last year- the fund to establish an award in her honor has reached $23,000 ... The goal is $100,000, to provide an award of $10,000 a year." The age restriction which required the recipient to be "an outstanding female writer under 45" has been removed. Margaret Laurence, Jane Rule, and Timothy Findley will select the first winner of the Marian Engel Award, which, it is hoped, will be awarded for the first time in 1987.
C157 Wiseman, Adele. "Marian Engel 1933-1985." Canadian Literature, No.108 (Spring 1986), pp. 198-200. Wiseman outlines Engel's background and career and pays tribute to her "distinct vitality," "feisty determination" "unique voice," and indomitability. "The variety of ... [her last two works] hints at the worlds which Marian Engel might yet have created."
C158 Hutchison, Ann M. Introduction to "Arthur and the Seven Stars." Queen's Quarterly, 92 (Spring 1986), 98-99. Hutchison recounts how she came into possession of the manuscript for "'Arthur and the Seven Stars' [B35], an early and hitherto unpublished short story with a strong autobiographical component." The story contains the germ of themes Engel developed "more fully in her later fiction.., her love of adventure and travel ... her strong feeling for women ... her sensitivity to landscape ... and her fascination with the esoteric and mythic ... This tension between reality and fantasy becomes a major component in all Engel's fiction."
C159 Callwood, June. "Euphoric Meeting Finds 'Tribe' Looking Good after 14 Years." The Globe and Mail [Toronto], 4 June 1986, p. A2. In a report on the fourteenth annual meeting of The Writers' Union of Canada, Callwood notes that "The struggle for ... Payment for Public Use (PPU)," which Engel made "her personal crusade," has been won. Callwood notes the variety of styles in which The Writers' Union's chairpersons managed the daunting task of "running a meeting densely populated by articulate and opinionated people." Engel is described as "bemused and detached."
C160 "Board Notes." MTLB News [Metropolitan Toronto Library Board], Sept.-Oct. 1986, p. 4. "A memorial iris garden for Canadian writer Marian Engel will be established in the northeast corner of the grassed area surrounding the amphitheatre outside MTI ... Engel was also a former member of the TPL Board of Trustees."
C161 "Engel Memorial." The Globe and Mail [Toronto]. "For the Record," 1 Oct. 1986, p. A14. A memorial garden for Marian Engel will be established by the Metropolitan Toronto Library Board at the rear of the library. The project was initiated by a group of Canadian writers led by Timothy Findley and including Margaret Atwood, Graeme Gibson, Margaret Laurence, Dennis Lee, Gwendolyn MacEwen, Judith Merril, Sarah Sheard, Phyllis Webb, and David Young.
C162 Adachi, Ken. "Alice Munro Honored with First Marian Engel Award." The Toronto Star, 21 Oct. 1986, p. H1. At the seventh annual International Author's Festival at Harbourfront, Toronto, Charlotte Engel "presented the first $10,000.00 Marian Engel Award... to Alice Munro ... Charlotte, who is executor of the Engel estate said: 'My mother would have been incredibly honored that this award was set up in her name. I know how hard she struggled. The last royalty cheque I received for her work came to $2.04.'"
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
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Source: Part 2: Works On Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 38-109
Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours; Awards and honours
Wengle, Annette (compiler)
C191 Prizes for articles in The Canadian Girl: "After the First Show," second prize (B50); "Canadiana," second prize (B52); "Coffee," first prize (B62); "Colour Scheme," first prize (B56); "Country Landscape," second prize (B49); "Discovery," honourable mention (B55); 'The Drawing Room," third prize (B45); "Expedition" first prize (B54); "Half Way Up and Half Way Down," second prize (B64); "Hills," first prize (B63); "June Families," first prize (B53); "Lift Up Your Hearts!", second prize (B46); "Lost and Found," third prize (B47); "March," first prize (B41); "Morning Comes Early," second prize (B61); "On Poets and Peasants," first prize (B60); "Partners in Silence," second prize (B51); "Prisms," first prize (B58); "Pure Paradise," first prize (B44); "Rain," third prize (B42); "Sarnia vs. Beck," third prize (B43); "Sixteen for Christmas," first prize (B57); and "Three, Three the Rivals," first prize (B59) (1947-52).
C192 Prizes for poems in The Canadian Girl: "Advent of Spring," first prize (B309); "The Art Student," first prize (B306); "Author," third prize (B317); 'The Cause," first prize (B305); "Cavendish at Twilight," first prize (B301); "Chinese Mood," first prize (B310); "The Dawning," second prize (B308); "The Dryad," first prize (B316); "End of Summer," second prize (B312); "Homecoming," first prize (B307); "Last Summer," second prize (B303); "Plaid," first prize (B314); "Quarrel," first prize (B311); "Song for 'Swan Lake,'" first prize (B315); "Spring Comes Early," third prize (B304); "Tide," first prize (B302); "Uphill," honourable mention (B318); and "The Worm," third prize (B313) (1948-52).
C193 Honourable mention in Seventeen's annual fiction contest for "A Summer's Tale" (B1) (1952).
C194 Third prize in Seventeen's short story contest for "Al" (B2) (1953).
C195 Rotary Fellow at University of Aix Marseille (1959-60).
C196 Canada Council Award, senior arts grant (1968).
C197 Canada Council Short-Term Grant (1970).
C198 Canada Council Award, senior arts grant (1972).
C199 Ontario Arts Council Writer's Award (1975).
C200 Canada Council Senior Arts Grant (1976).
C201 Governor-General's Award for fiction for Bear (1976).
C202 Canadian Authors Association Silver Medal for The Glassy Sea (1979).
C203 National Magazine Awards, McClelland and Stewart Award for fiction in a Canadian magazine for "Father Instinct" (B24) (1979).
C204 City of Toronto Book Award for Lunatic Villas (1982). Shared with Claude Bissell for The Young Vincent Massey (1982).
C205 Officer of the Order of Canada (1982), awarded posthumously (1985). [See The Globe and Mail (C95), Donna Olendorf (C108), Doris Anderson (C134), The Toronto Star (C150), and Jean Ross (C183) for conflicting reports of this award.]
C206 Ontario Arts Council Writer's Award (1983).
C207 Woman of Distinction Prize, Metro Toronto, Young Women's Christian Association (1984).
C208 Marian Engel Award (annual award, established in honour of Engel, to an outstanding female Canadian writer) (1986- ).
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
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Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 38-109)
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[underbar]
C1 Room of One's Own, [Special Issue on Marian Engel], 9, No. 2 (June 1984). 101 pp. Because this special issue includes works by Marian Engel, each entry is listed separately in Sections B, C, and D of this bibliography. Material by Engel includes "The Smell of Sulphur" (B30), "Sophie, 1990" (B31), and "Under the Hill: Notes on the Life of Miss Iris Terryberry with Excerpts from the Terryberry Garden Perennial Catalogue" (B32). Material about Engel includes Timothy Findley's "The Tea Party, or How I Was Nailed by Marian Engel, General Booth and Minn Williams Burge" (Cll0), Carroll Klein's "A Conversation with Marian Engel" (C184), Gwendolyn MacEwen's "The Yellow House" (C190), Alice Munro's "An Appreciation" (C111), Jane Rule's Rev. of Inside the Easter Egg (D146), Sara Stambaugh's "Marian in Edmonton" (Cl12), Eleanor Wachtecs Introduction (Cl13), Annette Wengle's "Marian Engel: A Select Bibliography" (C114), and George Woodcock's "Casting Down Their Golden Crowns: Notes on The Glassy Sea" (C115).
C2 Garay, K.E., with Norma Smith. Preface L.A. Braswell. The Marian Engel Archive [McMaster University Library Research News, 8, No. 2 (Fall 1984)]. 95 pp. This is an inventory of the Marian Engel archive, which was purchased by McMaster University in 1982. the collection, which extends some four linear metres, includes all the extant manuscripts of her books, short stories, plays, scripts, reviews, speeches and articles written to date, both published and unpublished, as well as some business and personal correspondence and her notebooks. The earliest items, fragments of short stories, probably date from the late 1940s and the latest items included are pieces of correspondence from the spring of 1982." The collection fills thirty boxes. One notebook (Box 6, F28) has been embargoed until spring 1988.
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
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Record: 480- Title:
- Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours; Interviews
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- Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours
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- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
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- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 2: Works On Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 38-109)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP2
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Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours; Interviews
Wengle, Annette (compiler)
C166 Interview with Marian Engel. Luncheon Date. CBC TV, 12 Feb. 1968. Marian Engel is interviewed about the relationship of No Clouds of Glory to her own life story.
C167 Campau, Du Barry. "Women Writers Are on a Literary Cloud of Glory." The Telegram [Toronto], 13 Feb. 1968, p. 37. This brief interview with Marian Engel soon after the publication of her first novel includes some biographical data. "This is a great period for women writers ... We're the second generation of educated women and we're having experiences and problems that have never been exploited before. Men novelists don't have nearly as much fresh material as we do -- they've been at it too long."
C168 McNeil, Bill. Interview with Marian Engel. Assignment. CBC Radio, 19 Feb. 1968. Marian Engel is interviewed about the relationship of No Clouds of Glory to her own life story.
C169 Davis, Warren. Interview with Marian Engel. The Day It Is. CBC TV, 20 Feb. 1968. Engel discusses her childhood in Canada, her concept of intellectualism, and her dislike of the present school system in Canada.
C170 Fulford, Robert. Interview with Marian Engel. This Is Robert Fulford. CBC Radio, 19 March 1968. Engel discusses the changing position of women in the modern world, the advantages and disadvantages of being a professional woman, women's awareness of the Royal Commission on Women, and the necessity for attractiveness in a woman. She also discusses the cultural and psychological barriers to women accepting professional women and the attitudes of employers to women.
C171 Interview with Lawrence Durrell, Marian Engel, Arthur Hailey, John Herbert, and Gore Vidal. The Day It Is. CBC TV, 12 Aug. 1968. [Approx. 2-3 min.] Engel talks about her desire to increase her technical skills, her interest in writing about women's feelings, and the therapeutic effect on her of her writing. She also speaks of how she works. She has voices in her head: she keeps the characters in her head, and they talk; then she sorts it out and writes it down.
C172 Interview with Marian Engel. Matinee. CBC Radio,2 Oct. 1968. In the second segment of Part I of this program, Engel discusses the problems facing a new author in Canada. In the second segment of Part II of this program, publisher Jack McClelland and novelists Marian Engel and Stephen Vizinczey discuss, in separate interviews, the problems of a budding author in Canada. They conclude that it is difficult to get published and even more difficult to make money. They also define literary and commercial writing.
C173 Frum, Barbara. Interview with Marian Engel. Weekday. CBCTV, 11 Nov. 1970. The program includes this interview, in which Engel talks about her new book, The Honeyman Festival.
C174 Gibson, Graeme. Interview with Marian Engel. Anthology. CBC Radio, 21 Aug. 1971. Printed (expanded- "Marian Engel") in Eleven Canadian Novelists. By Graeme Gibson. Toronto: House of Anansi, 1973, pp.85-114. Engel talks about being a writer, her unpublished novels, the personal element in fiction, the novel she is working on, the influence of other writers, Western Ontario as a Puritan culture, and about the predicament of women as portrayed in The Honeyman Festival.
C175 Anderson, Allan. "Aspects of the Canadian Novel: The Craft of Fiction in the Last Half Century." Interview with Margaret Atwood, Harry Boyle, Morley Callaghan, Robertson Davies, Marian Engel, Sylvia Fraser, Laurence Garber, Hugh Garner, Graeme Gibson, Dave Godfrey, Hugh Hood, Harold Horwood, Margaret Laurence, Gwendolyn MacEwen, Hugh MacLennan, W.O. Mitchell, Alice Munro, and Sheila Watson. Anthology. Ed. Robert Weaver. Supervising prod. Alex Smith. CBC Radio, 4 Nov. 1972. (4 min.) Part I of a seven-part series. Anderson interviews novelists and short story writers. In the eighth segment of Part I, Harold Horwood, Marian Engel, and Robertson Davies discuss their approaches to writing and their work habits.
C176 Anderson, Allan. "Aspects of the Canadian Novel: The Craft of Fiction in the Last Half Century." Interview with David Arnason, Margaret Atwood, Austin Clarke, Robertson Davies, Kiidare Dobbs, Marian Engel, Charlotte Fielden, Sylvia Fraser, Robert Fulford, Shirley Gibson, Dave Godfrey, Margaret Laurence, Gwendolyn MacEwen, Colin McDougall, John Moss, Alice Munro, Joanna Ostrow, Desmond Pacey, Mordecai Richler, Jane Rule, Robert Sorfleet, Jon Whyte, and Sandy Whyte. Anthology. Ed. Robert Weaver. Prod. Doug MacDonald. CBC Radio, 16 Dec. 1972. (3 min., 2 min., 3 min.) Part VII of a seven-part series. In the fourth segment of Part vii, Mordecai Richler and Marian Engel praise the generosity of The Canada Council's grants, and Margaret Laurence praises the council's support to writers and artists. In the seventh segment of Part VII, Marian Engel, Gwendolyn MacEwen, Austin Clarke, and Jane Rule discuss publishers, publishing, and intermediaries in the book business. In the twelfth segment of Part VII, Margaret Atwood, Robert Fulford, and Marian Engel comment on the current literary situation.
C177 Frum, Barbara. Interview with Marian Engel. As It Happens. CBC Radio, 23 April 1974. Marian Engel, chairperson of The Writers' Union of Canada, talks about the difficulties of being a writer, including unauthorized editing, low fees, and problems of distribution.
C178 Hacquoil, Marleen. Interview with Rudy Wiebe, Marian Engel, and Graeme Gibson. The Arts in Review. CBC Radio, 2 Nov. 1974. Rudy Wiebe, Marian Engel, and Graeme Gibson comment on the influence that The Writers' Union has with publishers.
C179 Gzowski, Peter. Interview with Marian Engel. Gzowski on FM. CBC-FM Radio, 13 May 1976. Engel discusses the evolution of Bear from a deliberate attempt to write a pornographic story to a full-fledged novel with a love story at its centre. She also discusses bear legends in various mythologies and her attempt to merge the commercial and artistic possibilities in the book. Engel also reads an excerpt from the novel (B353).
C180 van Herk, Aritha, and Diana Palting. "Marian Engel: Beyond Kitchen Sink Realism." Branching Out, [Special Issue on Women and Art], 5, No.2 (1978), 12-13, 40. In this short interview about being a woman and a writer, Engel talks about her response to interviews, her reception by critics, and her experience as a library trustee in Toronto. She also comments on her work.
C181 Twigg, Alan. "Private Eye." In his For Openers: Conversations with 24 Canadian Writers. Madeira Park. B.C.: Harbour, 1981, pp. 197-205. Engel discusses her childhood, the writer's problem of balancing "the Big withdrawal from society" required to write a book, and the demands of the world, family, and students. She comments on Bear, The Glassy Sea, and on her movement away from cynicism: "You have to look for the good values in society, too. Or else there's not much reason to belong to a society." She notes the advantage to the writer of growing older and speculates that "... in this society at this time it seems to be that you can either be loved or accomplish something. That's a terrible choice to make." Engel observes that "The penultimate chapters in my books are always paranoid fantasies. It's happened in every book I've written." Finally, Engel affirms that the point of her life is to write.
C182 Matyas, Cathy, and Jennifer Joiner. "Interpretation, Inspiration and the Irrelevant Question: Interview with Marian Engel." University of Toronto Review, 5 (Spring 1981), 4-8. Engel is interviewed during her term as writer-in-residence at the University of Toronto. She talks about the intellectual stimulation of the university and her own academic experience at Montana State University, the University of Aix Marseilles, and as a graduate student at McGill University under Hugh MacLennan. She comments that "Many critical theories have more to do with analysing texts than with constructing them." Because she is not considered to be a "post-Modernist ... [she is] O-U-T for many academics" -- only Anne [sic] Hutchinson (C56) and George Woodcock (C73) have done serious critical articles on her. Her financial circumstances made her decide "not to write for academics; after all, they get their books free." Engel discusses the situation of the writer in Canada and the formation of The Writers' Union. She talks about her recent books and notes that Lunatic Villas, which was about to be published at the time of the interview, is "a funny book, but it's black humour." Engel plans to do some reading in the occult for her next book, which she wants "to be about someone who invents a religion."
C183 Ross, Jean W. "Engel, Marian 1933- : CA Interview." In Contemporary Authors: A BioBibliographical Guide to Current Writers in Fiction, General Nonfiction, Poetry, Journalism, Drama, Motion Pictures, Television, and Other Fields. Gen. ed. Linda Metzger. New Revision Series. Vol. xII. Detroit: Gale, 1984, 164-66. Engel speaks about being a Canadian writer, her activities with The Writers' Union and the Library Board, teaching, feminism, and her future plans. "I'm working on a novel now, and when I finish that I'll try the other kind of writing ('real literary essays'), because that's one thing I haven't done in Canada. I didn't get involved with the little magazines and wasn't able to do serious criticism." Engel expresses satisfaction with her career. "I was appointed to the Order of Canada this year. That is gratifying. People are beginning to phone up about reprinting old books, which is nice. I think I've done well. I certainly haven't done everything I want to do, and, you know, you run out of energy eventually ... On the other hand, I know more and there's more that I want to do, and perhaps just writing about writing is one of the logical conclusions too." (See The Globe and Mail [C95], Donna Olendorf [C108], Doris Anderson [C134], The Toronto Star [C150], and Awards and Honours [C206] for conflicting reports of the Order of Canada award.)
C184 Klein, Carroll. "A Conversation with Marian Engel." Room of One's Own, [Special Issue on Marian Engel], 9, No. 2 (June 1984), 5-30. Engel talks about her early beginnings as a writer, her undergraduate education, and her work on her master's thesis with Hugh MacLennan. She mentions her four unpublished novels and recalls Robert Weaver's help and encouragement. Engel has "never felt influenced by writers in this country." She talks about writers who influenced her (Lawrence Durrell, Doris Lessing, Iris Murdoch, T.S. Eliot, and "the English mystics"), the effect of motherhood on her work, life, and values, her travels, The Writers' Union, and her views on censorship and pornography. She discusses her relationship with the women's movement and feminism, and the way her relationships with men and with women have changed over the years. With Bear, Engel "stopped being a small press writer." Bear is "almost an empty book, in some ways. People bring their own content to it." Engel tells how the Marius Barbeau legend, The Bear Princess, helped her solve a problem she was having in shaping the novel. In connection with The Glassy Sea, Engel comments on "the perfectionism in this country' and John Passmore's The Perfectibility of Man, which examines the "philosophies of perfectibility, particularly Christianity, and how they can nearly poison our lives ... The whole philosophy of perfectibility is an important one and I wish I had done that book better." Engel comments very briefly on the "grim humour" in Lunatic Villas.
C185 Gzowski, Peter. Interview with Marian Engel. Morningside. CBC Radio, 19 Nov. 1984. Rebroadcast (excerpt). Anthology. Prod. Eithne Black. CBC Radio, 2 March 1985. In an interview recorded "this fall at her home," Engel speaks of her unsuccessful attempts to turn herself into "an austere French writer" and the conflict in her between "lushness" and "austerity." She talks about her story "The Smell of Sulphur ("the most autobiographical thing I've ever written") and her family background. She remarks on her "mean eye for place" and speaks of loneliness and friendship. She may withdraw from journalism and do some literary criticism. The novel she was writing in 1983 turned out to be three novels which need to be finished. "People are beginning to have adventures in their fifties ... and that sounds very exciting, and I haven't decided what my adventure will be yet."
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
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Record: 481- Title:
- Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours; Miscellaneous
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- Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 2: Works On Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 38-109)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP2
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C188 Amos, Robert. Caricature of Marian Engel. CV/II, 4, No. 1 (Winter 1979), 29. A caricature-drawing of Engel wearing a bearskin and holding a honey pot.
C189 McFadden, David. "Beaver: For Marian Engel." CV/II, 4, No. 1 (Winter 1979), 29. A poem dedicated to Engel.
C190 MacEwen, Gwendolyn. "The Yellow House." Room of One's Own, [Special Issue on Marian Engel], 9, No. 2 (June 1984), 58-59. A poem written for Engel following Engers description of a "yellow house down in Prince Edward Island." MacEwen introduces the poem (p.59) with a note about Engel's description (p. 58).
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
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Record: 482- Title:
- Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours; Theses
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- Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours
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- Annotated bibliography of Canada's major authors, no. 7
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- Wengle, Annette (compiler)
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- Bibliography
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- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 2: Works On Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 38-109)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP2
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Source: Part 2: Works On Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 38-109
Part 2 Works on Marian Englel; Books, articles and sections of books, theses, interviews, adaptations, miscellaneous, and awards and honours; Theses
Wengle, Annette (compiler)
C163 Irvine, Lorna [Marie]. "Hostility and Reconciliation: The Mother in English Canadian Fiction." Diss. American 1977. Irvine examines the ambivalent journey of the daughter towards autonomy in the short stories and novels of Alice Munro, Marian Engel, Margaret Atwood, Sylvia Fraser, and Margaret Laurence. In order to achieve autonomy, the daughter must journey "from negation (the effort to cut the self off from the past), to recognition (an awareness of the conflict between subjection and autonomy), to assimilation (the achieved inclusion of the past in the present)." Irvine discusses Engel's Inside the Easter Egg, No Clouds of Glory, The Honeyman Festival, and Joanne: The Last Days of a Modern Marriage to support her thesis. The fictional journeys described by Irvine "illustrate what seems a profoundly Canadian quest: the quest for a kingdom where hostility can be transformed peacefully into a unifying reconciliation."
C164 Bentley, Joan Diane. "Patterns of Psychic Survival in No Clouds of Glory, The Honeyman Festival and Bear." M.A. Thesis Waterloo 1978. "In No Clouds of Glory, The Honeyman Festival and Bear, Marian Engel analyses the problem of the individual in conflict with society ... In each novel, the protagonist strives for and ultimately achieves psychic survival in the face of a deadening cultural value system ..." The novels "reveal a three-stage pattern in Engel's vision of psychic survival." First, the protagonists confront and reject the old value system (the Puritan culture); second, they create a personalized philosophy of life; and third, the protagonists create a personal philosophy capable of universal adoption. "Viewed sequentially, No Clouds of Glory, The Honeyman Festival and Bear reveal a progressive vision of the road to self-fulfillment ... The three novels present Engel's perception of the evolution of the personal and universal identity crisis and her vision of the final resolution of that crisis."
C165 Gagnon, Suzanne Marie E. "The Problem of Self-Realization and the Journey Motif in the Novels of Marian Engel." M.A. Thesis McGill 1978. Gagnon links the problem of self-realization in Engel's novels to "the twentieth-century literary vision: the notion of man as an isolated entity caught not only within the flux of an uncertain present, but within the dissociated and conflicting aspects making up his own identity; and, his subsequent preoccupation with the search for personal authenticity and integration, which frequently involves the use of the journey motif, be it movement in a spatial, temporal or psychological sense." In Engel's novels, "... self-realization denotes a highly individualized, critical self assessment involving, for each of her heroines, an evaluation of the past in an attempt to order and come to terms with a chaotic and uncertain present." The protagonists of the first five novels are analysed as illustrations of Gagnon's thesis. All five protagonists exhibit a desire "to integrate the fragmented and conflicting aspects of one's life into a harmonious whole." Only "... Lou and Joanne reveal themselves as dynamic, and consequently, open to movement in the psychological sense, through their ability to adapt to, and bring about, change." Engel's use of the journey motif extends it "beyond the traditional limits of the archetypal quest pattern .... Once informed by a strong sense of purpose and direction, the journey of the contemporary literary hero has since come to be viewed in the light of anxiety and confusion ...."
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
Item Number: ABCMA07MEP2000007001003003
Record: 483- Title:
- Part 2 Works on Marian Englel; Selected book reviews; Bear
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- Part 2 Works on Marian Englel; Selected book reviews
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Criticism & interpretation -- Bibliography
Titles critiqued: BEAR (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 2: Works On Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 38-109)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP2
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Source: Part 2: Works On Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 38-109
Part 2 Works on Marian Englel; Selected book reviews; Bear
Wengle, Annette (compiler)
D42 Van Varseveld, Gail. Rev. of Bear. Room of One's Own, 2, Nos. 2-3 (1976), 123. Bear "is first and foremost a good story. More or less a quest tale, Engel's novel works well on several levels: the search for the historical documentation of the early settlement of the area; the search for the man who built the library and the estate, Pennarth; Lou's search for the deeper truths of her own life ... [It is] Engel's best novel yet."
D43 Wiseman, Adele. "Pooh at Puberty: Engel's Fabulous Shaggy Bear Story Carries Ursophilia to a New Plateau." Books in Canada, April 1976, pp. 6-8. Wiseman identifies the "classical pattern of the journey in search of self, of roots, of meaning, of reconciliation with the immanent unknown." She commends "the great skill with which this story is handled, [so] that while adhering to a simple and compelling story line, and never losing credibility on the naturalistic level, Ms. Engel manages to suggest such a wealth of allusive implications on so many levels." Engel is making a statement about "socially imposed patterns: sterile, loveless living; the lack of meaningful contact among human beings and between human and other beings; the body's loneliness; all of those things that can drive the human being to seek some sort of total, meaningful consummation beyond the human, with another fleshy, natural force."
D44 Dawe, Alan. "Back to the Bush." The Vancouver Sun, 9 April 1976, p. 32A. Bear "will likely be the most durable Canadian novel on this spring's fiction list ..." Margaret Laurence, Robertson Davies, and Margaret Atwood praise Engel on the cover of the book, and, Dawe notes, "... in writing Bear, Engel has joined the ranks of [these] three leading novelists ..." The book succeeds on a realistic level through producing "'a willing suspension of disbelief.'" As well, it succeeds as a metaphor for the "escape back to nature" and as a comment on "the settling of this immense Canadian land."
D45 French, William. "... and We Do Learn a Lot about Bears." The Globe and Mail [Toronto], 10 April 1976, p. 38. "This isn't a sensational or pornographic novel about bestiality .... It's a serious piece of fiction, the best thing that Engel has done, challenging, provocative and at times brilliant." Lou's union with the bear represents a synthesis of old and new world cultures. Engel's style shows a fine use of understatement, control, and economy.
D46 Laurence, Margaret. "Engel's Novel Bear Explores Communication, Life." The Gazette [Montreal], 10 April 1976, pp. 15, 23. Bear "is a splendid, even brilliant, piece of work." The novel "conveys a sense of connectedness with all life, and it has a strongly mythic quality ... which is reinforced by the bear lore and legend ..." The sexual "scenes with the bear could very easily have been grotesque or ugly, but they are not. They are done with delicacy, restraint, and a strange kind of beauty." Through the bear, Lou becomes able "truly to live within her body ... The final triumph of the novel is that it becomes a celebration of life itself ... this novel is an enactment of the ancient Quest theme, that descent which is really the descent into the strange caves of the mind ... and the emergence into the world of home, a world which can now be lived in."
D47 MacSkimming, Roy. "Toronto Writer Turns Simplicity into True Artistry." The Toronto Star, 10 April 1976, p. H7. Bear is "written in the most graceful and assured prose that this reviewer has read in a long time. Marian Engel has delivered herself a book that will endure."
D48 Hamilton, Jamie. "Canadian Myth Embraces Exotic Links with Bear." The London Free Press, 17 April 1976, p. 55. In Bear, Marian Engel "reaches the apex of her writing career, with a spontaneous approach that sets it beyond present artistic standards." The relationship between Lou and the bear helps her to find "a new sense of self ... "By the end of the novel, Lou "has lived and felt the literary roots of Canada and has touched the source of Canadian mythology."
D49 Williamson, David. "Emptiness of Existence." Rev. of Bear and Inside the Easter Egg, by Marian Engel. New Leisure Saturday Magazine [Winnipeg Free Press], 17 April 1976, p. 17. Williamson speculates on whether the "big black bear" is Engel's "substitute for those dull, unfeeling men who populate her stories" and playfully lists some "possibilities [which] will occur to the symbol-minded reader .... Is it the Russian bear in a parable of detente?" Although the novel is "somewhat contrived," the "interweaving of the cerebral with the corporeal, the intellectual with the emotional, almost works .... For me, it is an earthy tale that just about comes off."
D50 Amiel, Barbara. "If Two of God's Creatures Are Truly in Love, What Does Species Matter?". Maclean's, 19 April 1976, p. 64. Amiel admires Engel's style, but not the heroine or the view of nature domesticated which the bear represents. "Nature retained more dignity when Melville made war on it than when it was made love to by Engel." Amiel identifies the theme as a search for self-revelation through union with nature and notes the literary tradition to which it belongs.
D51 MacEwen, Gwendolyn. Rev. of Bear. Quill & Quire, May 1976, p. 36. MacEwen stresses the author's "courage and craft." "This is a disturbing book; we need to be disturbed."
D52 Montagnes, Anne. "You See, There's This Girl and Her Bear. And ..." Saturday Night, [Spring Literary Issue], May 1976, pp. 70-71. "... Bear is a delicious, readable triumph, certainly complex but far wiser and more mature than Engel's No Clouds of Glory or The Honeyman Festival; finally pulling together the angry, unanswered escapisms of Monodromos. There's still a gap for Engel to pursue -- can Lou who loved and was loved by Bear exist in the city? But then, that gap is one of our 1970's conditions -- can we overcome the imported genteel intellectualism in and surrounding us, and be in Canada?"
D53 Oates, Joyce Carol. "Love Story." The Canadian Forum, May 1976, p. 35. Bear is an "imaginative adventure" and a "tour de force ... What is marvellous about Bear is its deft shifting from one mode of consciousness to another. The fabulous is always present ..."
D54 Knelman, Martin. "Paws." Weekend Magazine, 19 June 1976, p. 3. Knelman places the book in the context of the quest parable, and identifies the theme of "finding ecstasy through liberation from the deadening impact of corrupt European culture."
D55 Kennedy, Alan. Rev. of The Glass Knight, by David Helwig; and Bear, by Marian Engel. Dalhousie Review, 56 (Summer 1976), 389-92. The novel is not about bestiality, but about "discovering ways of authentic speaking." Engel has created "a book so carefully crafted that one is hardly aware of the craftsmanship"
D56 Taylor, Michael. Rev. of Bear. The Fiddlehead, No. 110 (Summer 1976), pp. 127-29. Taylor praises Engel's spare and simple style. "Bear is so powerful, both as story and myth, simply because it renders with a very fine economy and concentration particular people in a uniquely strange and interesting situation"
D57 Palencia, Elaine F. Rev. of Bear. Library Journal [New York], July 1976, p.1555. Rpt. in The Library Journal Book Review: 1976 [New York], 1977, p. 630. "The novel is a paradigm of the quest motif ... Engel's book is relatively inconclusive and fragmented, although she suggests a number of profound themes. She is at her best writing in a strong, spare style about concrete sensations and personal solitude"
D58 Thompson, Kent. Rev. of Bear. Axiom: Atlantic Canada's Magazine, 2, No. 5 (July 1976), 32-33. "Bear ... is a book about Canadian history and mythology and its form is representational rather than psychologically realistic." It invites comparison with Margaret Atwood's Surfacing, since both "are quest books which have a great many implications about ... Canadian history and feminine identity." Bear is "a novel which is sometimes funny, always interesting, and quite often unsettlingly significant."
D59 Lehmann-Haupt, Christopher. "Celebrations of the Natural." Rev. of Bear, by Marian Engel; and Farmer, by Jim Harrison. The New York Times, 26 July 1976, p. 21. "... Bear works as simply and mysteriously as a folk tale. It is a remarkable tour de force."
D60 Grumbach, Doris. Rev. of Bear. The New York Times Book Review, 15 Aug. 1976, pp. 8, 10, 12. The bear in the novel "may be ... a mythic, Faulknerian bear ... The narrative is pure magic, an alchemic transformation from fact into folk tale and the rich areas of the human psyche, a metamorphosis so subtle that its sexual shock is completely acceptable to us."
D61 Jefferson, Margo. "Grizzly Tale." Newsweek [New York], 16 Aug. 1976, p. 74. Bear is an unappealing novel, lacking in subtlety. "Engel can write well: she evokes ... life. But her Bear is done in by thick, overripe romanticism; its animal hero is trapped in a thicket of metaphors and symbols devised by over eager human hands."
D62 Schott, Webster. "Animal Magnetism." The Washington Post Book World, 29 Aug. 1976, p.M3. Bear is "both strange and original ..." In it, "A middle-aged woman has a prolonged erotic encounter with an aging bear, and she is better for it ... The bear is an animal version of her yellowed self. Shabby. Spent." Many interpretations of the book suggest themselves: it is "a lament about human separation from physical history ... the differences between what women want and men will give ... a miniature cultural analysis of the colonization of Canada by the haughty English ..." Finally, "Art succeeds for what it is, however, not for what it might be. Bear is a startlingly alive narrative of the forbidden, the unthinkable, the hardly imaginable. Engel makes of this story an erotic experience that one enters, accepts and approves. She has written a novel that strikes the mind and will not go away."
D63 Fish, Vivian. Rev. of Bear. Canadian Review, Sept. 1976, pp. 42-43. Bear "is neither a good bear story nor a good love story." The situation depicted in the book is absurd, the bear-as-metaphor does not work. Lou's character is shallow and unconvincing. The resolution of her spiritual crisis is unbelievable.
D64 Moss, Robert F. Rev. of Bear. Saturday Review [New York], 18 Sept. 1976, p. 31. The heroine's "behavior [with the bear] becomes too extreme and too implausible to be read without snickering ... bestiality is treated with such clinging, cloying affirmation that it generates more bathos than disgust."
D65 Baker, Janet. Rev. of Bear. Atlantis: A Women's Studies Journal/Journal d'Etudes sur la Femme [Acadia Univ.], 2, No. 1 (Fall/automne 1976), 125-27. Like earlier Engel novels, the subject matter of Bear is "the introspection of sensitive, educated females." However, the craft of the prose surpasses that of her earlier works, and "... the narrative possesses the apparent simplicity of a folk-story ... "At the beginning, Lou is "out of touch with her intuitive self." By the end, she has "experienced a sort of redemption." Bear invites comparison with Margaret Atwood's Surfacing because of the Canadian wilderness setting and, especially, because of "the implied question of what constitute desirable qualities in males ..." The "emphasis on a highly ambiguous wilderness brings into relief what it means, in turn, to be human, and what, particularly, it means to be female."
D66 Wicken, George. "The Hibernation Ends." Essays on Canadian Writing, No.5 (Fall 1976), pp. 97-99. Wicken places Engel among authors like Joseph Conrad, James Dickey, and Margaret Atwood, who "reveal the power of nature to break down the defences of civilization." When Lou travels to Northern Ontario, "She emerges from her long hibernation in the Institute's basement into the vital northern spring ..." The novel also "points to an issue that is central to Canadian life and mythology, namely the difficulty in reconciling British history and tradition with the Canadian land itself." The theme of "a sexual relationship between a woman and a bear" is skillfully handled, and, in the end, "Lou is purged of her guilt and jolted back into her place as a human being in the delicate balance of nature."
D67 Edwards, Thomas R. Rev. of Bear. Harper's, Oct. 1976, p. 100. "Wherever it came from, Bear would be a small and quiet masterpiece."
D68 Jordan, Francis Y Rev. of Bear. Best Sellers [Univ. of Scranton, Pa.], Nov. 1976, p. 245. "Bear is neither amusing nor titillating. Instead, it is a solemnly pretentious perversion of one of the oldest Romantic themes: to be more human, man must return to nature."
D69 Appenzell, Anthony. "The Great Bear." Canadian Literature, No. 71 (Winter 1976), pp. 105-07. "Canadian writers are turning back, in theme and symbol, towards the concept of man as part of the natural world.., but perhaps the most striking example yet" is Engel's Bear. "An absurd tale, on the face of it, but Marian Engel is too skilful to allow such immediate judgments to prevail. She has always been good at the kind of credible, Defoesque prose which makes everything, as Margaret Atwood curiously remarks in her blurb, 'plausible as kitchens.'" Appenzell compares Bear with Atwood's Surfacing and notes an advance in both books over Earle Birnes "The Bear on the Delhi Road," which made a sharper division between the human and animal worlds.
D70 Taylor, R.J. Rev. of Bear. Archivaria, No. 3 (Win-ter 1976-77), pp. 147-48. Taylor concentrates on the "somewhat vague and at times inaccurate picture of the archival profession" that is presented in Bear. The Institute is "a composite which does not really resemble an archives as it exists today. Lou is herself a composite, a combination of archivist, librarian and museum curator ... Lou's occupation is used to reveal the nature of her existence and the state of her mind ... She had become deadened to herself and to others ... Bear, however, is a valid and sensitive exploration of a person's search for identity rather than a judgement upon the archival profession."
D71 Waller, G.F. "New Fiction: Myths and Passions, Rivers and Cities." Rev. of Lady Oracle, by Margaret Atwood; Bloodshed and Three Novellas, by Cynthia Ozick; The Family Arsenal, by Paul Theroux; and Bear, by Marian Engel. Ontario Review, No.5 (Fall-Winter 1976-77), pp. 93-97. "Engel's allegory, even when rendered more subtle by a quiet irony, is just too simplistic and explicit ... The muted lyricism of Engel's style is effective, but the simplistic distrust of the reader reduces the book to little more than a moralistic footnote to Atwood's Surfacing."
D72 Hay, Linda MacKinley. Rev. of Bear. In Canadian Book Review Annual: 1976. Ed. Dean Tudor, Nancy Tudor, and Linda Biesenthal. Toronto: Peter Martin Associates, 1977, p. 133. Hay notes that "... the book works out the traditional theme of growth from naivete to understanding"
D73 Rev. of Bear. Choice [Middleton, Conn.], Jan. 1977, p. 1434. Bear "is a many-splendored, many-flawed thing: a bizarre, and perhaps ultimate, chapter in the familiar Canadian identity quest; a pastoral fable that degenerates into porno fantasy, a haunting folktale marred by runaway enthusiasm for myth and metaphor engendered by writers as diverse as Rousseau, William Faulkner, Ernest Thompson Seton, and Margaret Atwood ... "Engel is "a risk taker."
D74 Symons, Scott. "The Canadian Bestiary: Ongoing Literary Depravity." West Coast Review [Simon Fraser Univ.[, 11, No.3 (Jan. 1977), 3-16. This review is noteworthy for the position it represents and the response and reaction it generated (see William French, C49; Elspeth Cameron, C54; and D.J. Dooley, C65). Symons attacks Engel, women writers, and the current Canadian literary scene. He decries the rejection of traditional values which is implicit in the search for a Canadian identity. "What is dirty, finally obscene, about Bear, is the author's pretension ... to be sophisticated, suave, poetic, knowing ... and that correlative furtive (and cowardly) process of attacking and deriding the 'genteel Canadian tradition.' "
D75 Bowen, Gail. "The Way We Are and the Way We Were." Rev. of The Swing in the Garden, by Hugh Hood; and Bear, by Marian Engel. Chelsea Journal [Saskatoon], 3 (Jan.-Feb. 1977), 35-37. Bowen contrasts the styles in The Swing in the Garden and Bear and compares their thematic concern with "The need to come to terms with the way we were so that we can understand the way we are ... Engers Lou is the embodiment of the angst of the Canadian urban woman in the last quarter of the twentieth century."
D76 Howe, Parkman, "Two Novels Accent Self-Discovery." Rev. of Farmer, by Jim Harrison; and Bear, by Marian Engel. The Christian Science Monitor, 27 Jan. 1977, p. 27. Howe notes that the shocking and grotesque elements of the book serve "the intention ... toward the mythic, to lift the story, like a folktale, into dialogue with something beyond humanity." Engel's success is due to "her fine gift for writing" and "the maturity of her vision."
D77 Mills, John. "Recent Fiction." Rev. of Lady Oracle, by Margaret Atwood; The Burning Wood, by David Williams; Blood Ties, by David Adams Richards; and Bear, by Marian Engel. Queen's Quarterly, 84 (Spring 1977), 99-102 Rpt. ("Quick! Quick! Phone for the Pound!") in Lizard in the Grass. By John Mills. Downsview, Ont.: ECW, 1980, pp. 186-90, 193-94. Bear is "silly" but "teachable" because of its themes, which are standard Canadian literature fare. The book is full of "cliches," and Engel quotes "anecdotes both taxonomic and mythological concerning bears ... to stuporous effect." Mills decides the book is not pornography, questions whether it is "what passes in Toronto for Liberation Literature," and ultimately, calls it "'poshlost,'" a Nabokovian term. Bear is an imitation of Margaret Atwood's Surfacing.
D78 Dowden, Graham. "Bad Marks to Engel." Caledonian, 6, No. 3 (April 1977), 36-39. Discussing bestiality in the novel, Dowden observes that Engel does not achieve naturalism like William Faulkner in "The Bear" nor absurdity like Kafka or Lewis Carroll; instead, she achieves bathos.
D79 Miller, Jane. "Bear Essentials:' The Times Literary Supplement [London], 1 April 1977, p. 393. "This is a novel about the quality of solitude ... Marian Engel writes with a fine lucidity of mysteries perceived and not glorified."
D80 Mellors, John. "Bears and Shadows:' Rev. of The Great Pursuit, by Tom Sharpe; Shadows on Our Skin, by Jennifer Johnston; The Girl in the Picture, by Diana Melly; A Shadow of Gulls, by Patricia Finney; and Bear, by Marian Engel. The Listener [London], 14 April 1977, p. 494. "... Marian Engel succeeds at every level, from straight narrative to symbolism."
D81 Labonte, Ronald. Rev. of Inside the Easter Egg and Bear. Canadian Fiction Magazine, Nos. 24-25 (Spring-Summer 1977), pp. 183-90. Bear is compared favourably with Inside the Easter Egg, but both have the same weakness: "a dearth of thematic and character development." Labonte compares Bear and Stanley Elkin's "The Making of Ashenden: Both deal with bestiality, but Elkin engages his theme and his character more directly and successfully than Engel, whose inelegantly factual style undermines the book. Nevertheless, Bear "represents a significant leap forward from her earlier work: the focus is sharper, the prose stronger and the characters less lachrymose."
D82 Solecki, Sam. "Letters in Canada: 1976. Fiction: I." University of Toronto Quarterly, 46 (Summer 1977), 343, 345-46. Solecki notes that "... the entire symbolic superstructure depends upon the realistic story whose focus is bestiality." The novel fails because it does not integrate the realistic and symbolic levels.
D83 Zonailo, Carolyn. "Canadian Novelty." Caledonian, 7, No. 1 (Oct. 1977), 1-5. This defence of Bear, written in answer to Graham Dowden's unfavourable review (D78), contains information about other "bear" stories, particularly Sir Charles G.D. Roberts' The Heart of the Ancient Wood.
D84 Morley, Patricia. "Canadian Crusoe: Ursomorphic Lore." World Literature Written in English [Univ. of Texas at Arlington], 16 (Nov. 1977), 359-60. "Lou is destined to become an archetypal Canadian literary heroine." The novel is "an allegory which works perfectly well on the literal level as an unusual adventure story, and a quest novel where the protagonist goes away to find herself and acquires self-knowledge after surviving some fabulous trials."
D85 Osachoff, Margaret Gail he Bearness of Bear." The University of Windsor Review, 15, Nos. 1-2 (1979-80), 13-21. Bear is actually "an inversion or ironic treatment of [romantic pastoral] myths. When Engel turns D.H. Lawrence's gamekeeper into a bear, she paradoxically subverts the reader's romantic expectations:' Osachoff identifies Lou's "tendency to romanticize nature" and "a concomitant misanthropy." Lou "anthropomorphizes the bear"; she gradually "forgets the 'bearness' of bear; she infringes on his identity and makes him her 'lover, God or friend,' ... or Canadian archetype ... Engel wants us to read about her heroine's experience with a sense of the irony that is inherent in that experience. While we are reading the lyrical descriptions of nature and love, our constant thought, must be that Lou's perfect companion is a real animal ... This contrast between the implied ideal and the actual situation sets up ironic reverberations that extend beyond this particular novel so that we can never read any romantic pastoral ... in the same way."
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
Item Number: ABCMA07MEP2000007001004005
Record: 484- Title:
- Part 2 Works on Marian Englel; Selected book reviews; Joanne: The Last Days of a Modern Marriage
- Other Title:
- Part 2 Works on Marian Englel; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Criticism & interpretation -- Bibliography
Titles critiqued: JOANNE: The last days of a modern marriage (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 2: Works On Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 38-109)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP2
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Source: Part 2: Works On Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 38-109
Part 2 Works on Marian Englel; Selected book reviews; Joanne: The Last Days of a Modern Marriage
Wengle, Annette (compiler)
D36 Duffy, Dennis. "Day by Day to Wispy Echoes." The Globe and Mail [Toronto], 22 Feb. 1975, p.32. The short diary entries (imposed by the format of the radio serialization for which the book was originally written) do not allow for the development of the richness of plot and character that Dickensian serialization did.
D37 Jackson, Marni. "Novelists Roam Newfoundland, a Greek Island and Divorce World." Rev. of Tomorrow Will Be Sunday, by Harold Horwood; and One Way Street and Joanne: The Last Days of a Modern Marriage, by Marian Engel. The Toronto Star, 22 Feb. 1975, p. F7. Jackson briefly describes Joanne: The Last Days of a Modern Marriage and notes that it was written for CBC Radio's This Country in the Morning. 'The challenge was to produce four-minute daily dramas that would sound like a woman's diary, and come across naturally on radio."
D38 Bryans, John. the Death of a Marriage." The Vancouver Sun, 11 April 1975, p. 35A. Our conception of the institution of marriage is currently in a state of crisis. "That crisis is neatly and sensibly explored in Marian Engel's readable new Canadian novel ..." The book charts "the harrowing emotional and practical realities of divorce" and the struggles of the protagonist to make a new life for herself. Although the "episodic plot and slightly sketchy characters" reflect the book's origin as a radio series, Engers "comments about a whole generation of marriages" are significant.
D39 Lecker, Robert A. Rev. of Joanne: The Last Days of a Modern Marriage. Quill & Quire, April 1975, p. 37. The novel's characters and situations are banal, and the transformation from short radio pieces to novel has been unsuccessful.
D40 Kostash, Myrna. that Nice Woman Next Door: Marian Engel's Joanne May Look 'Round as a Ring and Fertile as a Trout' but She's Haunted by Phantoms of Despair." Books in Canada, May 1975, pp. 6-8. Since Joanne: The Last Days of a Modern Marriage was written for a radio audience, it could not have "too arty, too transcendental, too middle-class Toronto Bohemian" a heroine. The handling of the mother-daughter relationship is well done, and this is an important theme "... now that there is finally an explicitly feminist context within which women writers may write ... We need to know that we have descended along female blood lines as well as male ones and have been imprinted indelibly by them." Engel uses "a female narrator writing from the land of uterus and premenstrual tension. A narrator, that is, of full one half of human experience."
D41 Bagley, Laurie. Rev. of Joanne: The Last Days of a Modern Marriage. Room of One's Own, 1, No.2 (Summer 1975), 73-74. The subtitle "might have been more aptly called 'The First Days of a New Life.'" The heroine is "a welcome addition to the growing gallery of distinctive Canadian heroines," because she grows and develops beyond her role as a housewife. The format of the four-minute radio segment has, however, imposed serious limitations on the novel that prevent it from coming to grips with the many important topics it touches on.
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
Item Number: ABCMA07MEP2000007001004004
Record: 485- Title:
- Part 2 Works on Marian Englel; Selected book reviews; Monodromos
- Other Title:
- Part 2 Works on Marian Englel; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Criticism & interpretation -- Bibliography
Titles critiqued: MONODROMOS (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 2: Works On Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 38-109)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP2
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Part 2 Works on Marian Englel; Selected book reviews; Monodromos
Wengle, Annette (compiler)
D24 Hogan, Margaret. "South Windy." Books in Canada, 2, No. 4 (Oct. 1973), 9-10. Engel's "intelligence, style, and perceptions illuminate every page of Monodromos ..." yet the novel is a failure -- its heroine never comes to life.
D25 Long, Tanya. Rev. of Monodromos. Quill & Quire, Nov. 1973, p. 12. Engel's third novel is her best so far. She "has created a total imaginative world, a complex, fascinating and elusive world peopled with equally fascinating and elusive, yet somehow credible, characters."
D26 Buitenhuis, Peter. "Brilliant Pastiches in Search of a Meaning." The Globe and Mail [Toronto], 10 Nov. 1973, p. 32. "Audrey Moore remains a tourist -- someone who doesn't penetrate the surfaces, who doesn't really encounter the culture or have much to say to it ... Expatriation can be a vital means of experiencing another form of life. In Audrey Moore's case it seems to have been fruitless." Buitenhuis praises Engel's style -- she is "a poet among prose writers" -- but the novel remains episodic and fragmentary.
D27 Dobbs, Kildare. "Monodromos: It's a Novel One Can Enjoy in All Ways." The Toronto Star, 28 Nov. 1973, p. G20. Dobbs notes that "The diarist has a classy style, reminiscent of a feminine Lawrence Durrell." The character demonstrates "the thoughts of a highly cultivated woman." Dobbs also praises her storytelling ability. "Monodromos, then, is a novel one can enjoy as a whole; but what is not so common, a novel which can also be enjoyed page by page, in all its parts, the texture as closely wrought, as packed with significance, as poetry."
D28 Leigh, Rebecca. Rev. of Monodromos. Chatelaine. "Books," Dec. 1973, p. 4. "Monodromos, which means one way street in Greek, succeeds essentially as a novel of expatriation ... For the sheer rich pleasure of the writing alone, it's a book not to be missed."
D29 Rudzik, O.H.T. "Letters in Canada 1973. Fiction." University of Toronto Quarterly, 43 (Summer 1974), 340. In a brief discussion of six books, Rudzik notes that "It is not surprising that in a social fix where womanhood and age are felt handicaps they should be compounded into a single protest." The landscapes in both Marian Engel's Monodromos and Mavis Gallant's The Pegnitz Junction give the "force of imaginative density to their novels."
D30 Thomas, Audrey. "Closing Doors." Rev. of The Book of Eve, by Constance Beresford-Howe; and Monodromos, by Marian Engel. Canadian Literature, No. 61 (Summer 1974), pp. 79, 80-81. Thomas admires Engel's ability to catalogue exotica, but notes that "... the place [Cyprus] is so much more interesting than the people Ms. Engel chooses to write about." Although the relationship between Audrey and Laddie is very well done, "... the heroine herself remains only an eye -- albeit an educated eye." The novel is most successful as a travel book. Thomas finds it "a brilliant book" and recommends it highly.
D31 Blythe, Ronald. "A Novel Not to Be Missed." The Sunday Times [The Times] [London], 5 Jan. 1975, p.31. Blythe outlines the plot of One Way Street and notes that Engel's characters are rootless people who journey without hope of arriving. "Marian Engel is a treat. She makes comedy and sadness run abreast. She writes with great economy and with a kind of Rose Macaulay learning ... She entertains and informs in parallel, and is not to be missed."
D32 Mellors, John. "Island Styles." Rev. of Leavetaking, by John McGahern; He's Somewhere in There, by Anthony O'Connor; One Way Street, by Marian Engel; Memoirs of a Survivor, by Doris Lessing; and The Days of Destruction, by Vincent Brome. The Listener [London], 23 Jan. 1975, p.126. Mellors notes that "... the events do not add up to a plot," but "The book is so rich in eccentric characters and exotic places, so seasoned with off-beat comment and zany dialogue, that you do not mind the lack."
D33 Millar, Sylvia. "Sermons in Stones." The Times Literary Supplement [London], 24 Jan. 1975, p. 73. "Miss Engel writes with a blend of selfregarding simplicity, pedantry and grandiloquence ... however, she can describe city walls with some skill." The result is an "overresearched, over-allusive novel."
D34 Michaels, Oleg. "Fresh, Home-Grown and Tasty." Rev. of Silton Seasons, by H.D. Symons; Monodromos, by Marian Engel; Fly Away Paul, by Peter Davies; and Paddle Wheels to Bucket Wheels, by J.G. MacGregor. The Montreal Star, 25 Jan. 1975, p. D4. "Marian Engel has written a simple human story on the Canadian traveller abroad ... Hers [Audrey's] is a therapeutic journey we would all like to make, and Marian Engel, through her simple but highly effective prose, offers us one route lit with insight and interest."
D35 Jackson, Marni. "Novelists Roam Newfoundland, a Greek Island and Divorce World." Rev. of Tomorrow Will Be Sunday, by Harold Horwood; and One Way Street and Joanne: The Last Days of a Modern Marriage, by Marian Engel. The Toronto Star, 22 Feb. 1975, p. F7. One Way Street is "sometimes more of a populated travelogue than a novel, and Audrey's witty feuds with her husband are not as convincing as the description of what the island looks like ... The book contains the kind of writing that dotes on peculiar, lovely names, of people or places. The style is clever, allusive and very aware of its own music."
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
Item Number: ABCMA07MEP2000007001004003
Record: 486- Title:
- Part 2 Works on Marian Englel; Selected book reviews; No Clouds of Glory
- Other Title:
- Part 2 Works on Marian Englel; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Criticism & interpretation -- Bibliography
Titles critiqued: NO clouds of glory (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 2: Works On Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 38-109)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP2
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Source: Part 2: Works On Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 38-109
Part 2 Works on Marian Englel; Selected book reviews; No Clouds of Glory
Wengle, Annette (compiler)
D1 Rev. of No Clouds of Glory. Publishers Weekly [New York], 20 Nov. 1967, p. 51. "Geographically she [Sarah] gets only as far as Montreal, but psychologically, Sarah comes to terms with herself with complete awareness and this for her is a rare attainment of triumph and hope. A perceptive, tough, interesting first novel. There are some stylistic difficulties here, but despite them, Miss Engel has a pace, thrust, vitality worth watching."
D2 Fallis, Laurence S. Rev. of No Clouds of Glory. Library Journal [New York], 1 Jan. 1968, p.96. Rpt. in The Library Journal Book Review: 1968 [New York], 1969, p. 690. "Sit out this round and wait for the real novel that Marian Engel will undoubtedly give us."
D3 Fefferman, Stan. "She Has Clearly Marked Her Territory: The Landscape of the Hung-Up Puritan Mind." The Telegram [Toronto], 17 Feb. 1968, p. 30. No Clouds of Glory is "a tour de force." Engel's Sarah Porlock "gives off an energy which makes her attractive and unique ... Sarah herself is more a collection of things she says than a real character. But most of the things she says engage you because she has wit and style." The novel "presents a stylist who openly sneers at the conventions of polite speech; a moralist who is superior to the hypocrisies of puritan point-getters; and a puritan-in-spite-of-herself who is disgusted by the dirty underside of her own mind."
D4 Grosskurth, Phyllis. "A Hip, Hip and a ... Wait, Whoa." The Globe Magazine [The Globe and Mail] [Toronto], 17 Feb. 1968, p. 18. No Clouds of Glory is "a splendidly intelligent book about people with real problems." However, the male characters are not as well drawn as the main character, Sarah Porlock, and the end is marred by a tendency to try to cover too many topics.
D5 McNeill, Stan. "First Writing from the Guts." The Spectator [Hamilton], 17 Feb. 1968, p. 12. No Clouds of Glory is a first novel which displays "a gleaming raw talent that's the stuff that great books are made of." Engel "writes with a fine gusto," never writing "for shock effect ... a first novel that shows ... uncommonly fine writing and a powerful driving style."
D6 Sayre, Nora. "The Loss of Love." The New York Times Book Review, 25 Feb. 1968, pp. 38-39. No Clouds of Glory is an "extremely skilful, exasperating first novel ..." Sarah Porlock is one of the "rough beasts who slouch through our fiction, insisting on their honesty, their anguish, and, above all, their unloveliness." Sarah is a "suffering shrew," a "self-defined harpy," and the novel has the appearance of "a casebook for a rampant minority." Sarah's hostility ensures that the reader will be unable to feel the sympathy for her that Engel seems to both demand and forbid. Engel is "far too gifted to confine herself to casebooks, or to brutes."
D7 Lee, Hope Arnott. Rev. of No Clouds of Glory, by Marian Engel; and Knife on the Table, by Jacques Godbout. The Canadian Forum, July 1968, p. 94. No Clouds of Glory suffers in comparison with Knife on the Table. Sarah's ruminations on her personal history are an attempt to "exorcise her dismal past."
D8 Grosskurth, Phyllis. "In a Year of Bad Novels, Here's the 15 Best." Toronto Daily Star, 7 Dec. 1968, p. 71. "The outstanding Canadian novel of the year was Marian Engers No Clouds of Glory, a story of a mixed-up young woman who teaches English at a Toronto college. Mrs. Engel's cool, wry detachment towards life brings a fresh astringency to the Canadian novel."
D9 French, William. "The Good, the Bad and the Trendy." The Globe Magazine [The Globe and Mail] [Toronto], 22 Dec. 1968, p. 13. French's list of "highs and lows ... of 1968" begins with "Most promising new novel: No Clouds of Glory by Marian Engel."
D10 Roper, Gordon. "Letters in Canada: 1968. Fiction." University of Toronto Quarterly, 38 (July 1969), 358-59. "Mrs. Engel has created a formidable talker, and, within a very narrow range, a complex character who fills completely the little world of this novel ... One hundred and eighty-one pages is too total an immersion in Sarah Porlock."
D11 McGoogan, Ken. "Women Elbowing Their Way into the Literary Forefront." The Toronto Star, 3 Aug. 1974, p. F7. McGoogan briefly reviews No Clouds of Glory upon its release in paperback as Sarah Bastard's Notebook. "It's an ambitious first novel, a rowdy, brawling book that echoes the early Henry Miller yet remains appallingly feminine ... Ms. Engel is as much interested in defining and depicting an attitude toward life m particularly life in middle-class Toronto -- as she is in telling a story."
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
Item Number: ABCMA07MEP2000007001004001
Record: 487- Title:
- Part 2 Works on Marian Englel; Selected book reviews; The Honeyman Festival
- Other Title:
- Part 2 Works on Marian Englel; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 7
- Author(s):
- Wengle, Annette (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: ENGEL, Marian; ENGEL, Marian -- Criticism & interpretation -- Bibliography
Titles critiqued: HONEYMAN festival (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Wengle, Annette (compiler) Part 2: Works On Marian Engel (nee: Passmore).
Publisher Information: Toronto, Ontario : ECW Press, 1987. (pp. 38-109)
ISBN: 0920763111 (hardcover); 092076312X (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7
Book Control ID: ABCMA07MEP2
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Source: Part 2: Works On Marian Engel (nee: Passmore). Wengle, Annette (compiler); Toronto, Ontario : ECW Press, 1987, pp. 38-109
Part 2 Works on Marian Englel; Selected book reviews; The Honeyman Festival
Wengle, Annette (compiler)
D12 Wainwright, Andy. "Beyond Women's Lib." Saturday Night, Oct. 1970, pp. 34-35. Wainwright regrets that Engel has not used her materials differently. Honeyman "is a character who ... might have achieved the mythical stature of, say, a Jay Gatsby." Engers "description of the Minn-Honeyman relationship" is "beautiful and powerful." Her "creation of Honeyman ... removes Minn from the role of feminist martyr." However, "... the novel tends to divide itself in two m one part dealing with the elusive film director ... and the other centring on Minn's past before the Honeyman era in the small town of Godwin." The Honeyman Festival is "not a great novel, perhaps; but certainly the stuff great novels are made of."
D13 Swan, Susan. "A Housewife with Mean Memories." The Telegram [Toronto], 21 Nov. 1970, p. 30. Swan places the novel, together with No Clouds of Glory, in the forefront of works by women writers who deal with "women's struggle for a new identity ... she has seized modern woman while she gropes, arms flailing, for a destiny that throws out no predecessors to follow ..."
D14 Sypnowich, Peter. "This Author May Be the Man Who Could Rescue Literature." Rev. of The New Ancestors, by Dave Godfrey; Circuit, by Lawrence Garber; Whir of Gold, by Sinclair Ross; and The Honeyman Festival, by Marian Engel. Toronto Daily Star, 21 Nov. 1970, p. 67. "The Honeyman Festival is written with even more verve than Mrs. Engel's 1968 novel, No Clouds of Glory, a similar tale of a woman's inner anguish."
D15 Grosskurth, Phyllis. "Trapped in a Biological Bathtub." The Globe Magazine [The Globe and Mail] [Toronto], 5 Dec. 1970, p. 20. The Honeyman Festival is criticized for being a "woman's book" which does not enlarge our experience. Its central flaw is that we are "trapped by that central character ... It's a harsh thing to say but The Honeyman Festival reads like a feeble imitation of a Margaret Drabble novel."
D16 Richmond, John. "When Putting Pen to Paper, Beware!". Rev. of Between the Lines, by Hannah Milner Smith; Hail Galarneau, by Jacques Godbout; A Game of Touch, by Hugh Hood; The Honeyman Festival, by Marian Engel; and Heaven to Witness, by Bernard Berlin. The Montreal Star, 26 Dec. 1970, p. 45. "... I found myself riveted, enthralled by the sweep and certainty of Marian Engel's energetic invention ... there is a compelling truth about the form and expression of Minn's dredged-up memoirs ..."
D17 Dickson, Robert. "Minn, une femme 'ordinaire.' " Le Soleil [Quebec], 27 fiv. 1971, p.43. "Roman brilliant, je le dis tout de suite ... histoire d'une femme 'ordinaire' mais combien extraordinaire, histoire mene avec une maitrise stylistique si habile qu'elle semble constamment fuir devant ranalyse."
D18 Robertson, Anthony. Rev. of Creation, by Robert Kroetscb, James Bacque, and Pierre Gravel; Around the Mountain, by Hugh Hood; Tillie's Punctured Romance & The Love Song of Rotten John Calabrese, by Charlie Leeds; and The Honeyman Festival, by Marian Engel. West Coast Review [Simon Fraser Univ.], 6, No.1 (June 1971), 52-54. The few paragraphs dealing with The Honeyman Festival state that the content is "fairly standard stuff."
D19 Harcourt, Joan. Rev. of The Honeyman Festival. Quarry, 20, No. 2 (Summer 1971), 63-64. The Honeyman Festival, which is "anything but 'just another woman's book,' ... takes an angry look at a life gone largely wrong; it searches ferociously through the past in an attempt to find some positives for the present."
D20 Roper, Gordon. "Letters in Canada 1970. Fiction." University of Toronto Quarterly, 40 (Summer 1971), 384-85. The Honeyman Festival exemplifies the many "1970 fictions" with a Toronto setting. "In most of these an environment is created to reinforce the mood or action of the central character." The novel "is largely a Molly-Bloom-flow-of-consciousness ... [Minn] is caught in biological time, and the reader is immersed relentlessly in her exacerbated consciousness as she struggles to hold together some integrity of the self as the biological clock ticks towards the hour."
D21 Gilman, Lelde. Rev. of The Honeyman Festival. Library Journal [New York], July 1972, pp. 2430-31. Rpt. in The Library Journal Book Review: 1972 [New York], 1973, p. 634. "Unfortunately, the reader cannot work up much enthusiasm for Minn, who is supposed to be in a passionate struggle between intelligent life and affection for family. Minn is just an angry lady mostly dealing with life in terms of the anal and oral functions of her children. Neither is the reader moved by the author's literary profundities"
D22 Gottlieb, Annie. "'The Honeyman Festival': To Minn, Illumination Is Non-Existent." Rev. of The Honeyman Festival. The New York Times Book Review, 1 Oct. 1972, pp.40-41. "If the reader could feel that Minn's adventures had been her own, that they had either come from or provoked the beginnings of a destiny in her, then there would be some sense of loss, of combat and a novel .... by staying inside Minn's head Marian Engel forfeits the chance to study her ... She writes an arch telegraphic prose that lends an intentional touch of coziness to the confinement and complacency to the complaint."
D23 Gottlieb, Lois C., and Wendy Keitner. "Reflections on Canadian Women's Writing of the 1970's: Preliminary Results of 'An Annotated Bibliography of Canadian Women Writers (in English): A Feasibility Study, 1970-1975.'" Canadian Newsletter of Research on Women/Recherches sur la Femme -- Bulletin d'Information, 7, No. 2 (July 1978), n. pag. Most of the authors in this study use interior monologue to show "their central characters as the fictional consciousness for exploring the world." The annotations provide a list of key words for the projected computerized index. Each annotation includes specified information about "genre, setting, main plot line, narrative point of view, stylistic devices and principal characters ... Ultimately what the novel celebrates more than Honeyman's films with their image of Minn as sex object is Minn's release from the bondage of her torpor, her formlessness, and her lack of direction."
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Source: Wengle, Annette (compiler); . Part 2: Works On Marian Engel (nee: Passmore), Toronto, Ontario : ECW Press, 1987. pp. 38-109 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 7 ISBN: 0920763111 (hardcover); 092076312X (paperback), Book ID: ABCMA07MEP2.
Item Number: ABCMA07MEP2000007001004002
Record: 488- Title:
- Part 2 Works On Phyllis Webb; Articles and sections of books, interviews, miscellaneous, and awards and honours; Articles and sections of books
- Other Title:
- Part 2 Works On Phyllis Webb; Articles and sections of books, interviews, miscellaneous, and awards and honours
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
- Subject(s):
- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Criticism & interpretation -- Bibliography
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 2: Works On Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 419-446)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP2
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Source: Part 2: Works On Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 419-446
Part 2 Works On Phyllis Webb; Articles and sections of books, interviews, miscellaneous, and awards and honours; Articles and sections of books
Frey, Cecelia (compiler)
[underbar]
C1 May, James Boyer. "Cum Laude." CIV/n, No. 2 [Autumn 1952], p. 20.
Webb's poetry exhibits the intellectualism of Pound and Eliot and the lyricism of Modern poetry. Webb uses spontaneity and restraint to achieve a "combined effect of images and ideas." She demonstrates insight and an ability to draw upon main traditions "for effective moulding with sufficient originality to be re-stimulating in her own idiom."
C2 Dudek, Louis. "Two New Poets: Phyllis Webb and Gael Turnbull." Contact, 2, No. 2 (Feb.-April 1953), 3-4.
Webb is a dedicated poet who writes as a vocation, rather than avocation. Her poetry is her own, unique to herself.
C3 Smith, A. J. M. "Phyllis Webb (1927- )." In The Book of Canadian Poetry: A Critical and Historical Anthology. Ed. and preface A. J. M. Smith. 3rd ed. Toronto: Gage, 1957, p. 497.
Webb is an "intelligent poet" and a "writer of real originality and subtle feeling." Her more recent work reveals an "emotional metaphysical richness." Smith also includes brief biographical data.
C3a Rashley, R. E. Poetry in Canada: The First Three Steps. Toronto: Ryerson, 1958, p. 161.
The poems in Trio: First Poems by Gael Turnbull, Phyllis Webb, E. W. Mandel are "man-centred, but psychological and intellectual, without the social commitment characteristic of earlier poetry."
C4 "Along Poet's Row." Canadian Author & Bookman, 34, No. 1 (Spring 1958), 13.
Portrait and biographical sketch.
C5 Wilson, Milton. "Other Canadians and After." Association of Canadian University Teachers of English, Edmonton. June 1958. Printed in The Tamarack Review, No. 9 (Autumn 1958), p. 91. Rpt. in Masks of Poetry: Canadian Critics on Canadian Verse. Ed. and introd. A. J. M. Smith. New Canadian Library Original, No. O3. Toronto: McClelland and Stewart, 1962, p. 137.
In a discussion of "our critics, fed on historical surveys of English literature, [who] go easily astray," Wilson notes that "A lively Maritime reviewer" who complained that Webb "falls back 'on poses fashionable in Bloomsbury in the 1920's and still considered avant-garde in Montreal,'" had no right to interfere with her choice of material.
C6 Dudek, Louis. "The Role of Little Magazines in Canada." The Canadian Forum, July 1958, p. 78. Rpt. in The Making of Modern Poetry in Canada: Essential Articles on Contemporary Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, p. 210. Rpt. in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, p. 91.
Webb, among other poets, settled in Montreal for a time. She emerged on the West Coast "through the medium of magazines."
C7 Dudek, Louis. "Patterns of Recent Canadian Poetry." Culture, 19, No. 4 (Dec. 1958), pp. 403, 409-10. Rpt. in The Making of Modern Poetry: Essential Articles on Contemporary Poetry in English. Ed. Louis Dudek and Michael Gnarowski. Toronto: Ryerson, 1967, pp. 275, 281. Rpt. in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, pp. 98, 105.
Webb is listed as one of "the Younger Poets" now living abroad. She is one of "Les Jeunes of Yesterday," who "converge from a variety of geographical points," but "lack a common centre." Webb is somewhat of an eccentric, "but for a background of political (CCF) activity and some influence from the Montreal group in her poetry. Dudek quotes from "Pain" as a "sample of her nervous manner."
C8 Pacey, Desmond. Creative Writing in Canada: A Short History of English-Canadian Literature. 2nd ed. Toronto: Ryerson, 1961, pp. 241, 247.
One paragraph on the achievement of Webb. Her poetry is "lyrical," sometimes "artificial by a too deliberate cleverness." She "has a sense of verbal melody and of poetic structure," and is best in "finding concrete images with which to express abstractions."
C9 Sonthoff, Helen W. "Structure of Loss: The Poetry of Phyllis Webb." Canadian Literature, No. 9 (Summer 1961), pp. 15-22. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Sharon R. Gunton. Vol. XVIII. Detroit: Gale, 1981, 540.
A discussion of the manner in which Webb's poetry is structured through theme and dominant images to form a balanced completeness. The poems are balanced "in craft and in attitude": in craft by juxtaposition of images, in attitude by balancing hope and the possibility of "meaningless circularity, withering glare, brutal and blank darkness." A juxtaposition of human corruption and destruction against human magnificence, love, and beauty is integral to all the poems. Webb offers no resolutions; the poems pose ambivalences--in public and historical experience as well as in private. Two possibilities are "that our shattering, fractional life may be just endless destruction, finally meaningless, and that this shattering may be necessary to a construction of value." Balance is achieved through theme by the use of images. For example, in "Sprouts the Bitter Grain," the "bitter grain of hatred" that grows "green and fervent" is also "'a forest of green angels, a threat of magnificent beasts.'" In "Pain," the "dominant tone is positive" and "the main image is constructive," but the images have within them the possibility of suffering and hopelessness. "...Is Our Distress" illustrates the manner in which Webb, in structure and in statement, utilizes the bone image. "Double Entendre" is "centred on...contraries." Wholeness is achieved by the poet's use of images, especially those relating to seed, skin, flesh, and the way in which the poem circles "through the whole chain of images and tightens again to the structure of hope as a structure for loss." The double meaning in many of Webb's poems "leads to this circling journey which man the maker, the seeker, the observer, must take."
C10 "Phyllis Webb (1927- )." In Ecrivains Canadiens / Canadian Writers: A Biographical Dictionary. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Toronto: Ryerson, 1964, p. 137. Rpt. in Canadian Writers/Ecrivains Canadiens: A Biographical Dictionary. Ed. Guy Sylvestre, Brandon Conron, and Carl F. Klinck. Rev. and enl. ed. Toronto: Ryerson, 1966, p. 154.
Short biographical sketch and commentary. The mood of Webb's poems ranges from serious to "rollicking"; her images are "evocative," and her idiom is "individual."
C11 Woodcock, George. "Away from Lost Worlds." In On Contemporary Literature. Ed. and introd. Richard Kostelanetz. New York: Avon, 1964, p. 107. Rpt. (revised--Culture and the Death of Colonialism) in Canada and the Canadians. By George Woodcock. Toronto: Oxford Univ. Press, 1970, p. 254. Rpt. (revised--"Away from Lost Worlds: Notes on the Development of a Canadian Literature") in Odysseus Ever Returning: Essays on Canadian Writers and Writing. Ed. George Woodcock. Introd. W. H. New. New Canadian Library, No. 71. Toronto: McClelland and Stewart, 1970. p. 10. Rpt. in Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, p. 219.
Webb is listed among British Columbia poets and is of the "post-war period." She "writes with a honed-down intellectuality that is at times excessively chilling."
C12 Beattie, Munro. "Poetry 1950-1960." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. Toronto: Univ. of Toronto Press, 1965, pp. 792-93. 2nd ed. 1976. Vol. II, 304-05.
Webb is a "sensitive explorer." She draws on "subjective experiences" and "refers to no conventional patterns." While some of her poems are not sufficiently realized, others produce of the reader "a glow of recognition."
C13 Rhodenizer, Vernon Blair. Canadian Literature in English. Montreal: Quality, 1965, p. 954.
Brief bibliographical data.
C14 Jones, D. G. "The Sleeping Giant, or the Uncreated Conscience of the Race." Association of Canadian University Teachers of English, Univ. of British Columbia, Vancouver, B.C. June 1965. Printed in Canadian Literature, No. 26 (Autumn 1965), pp. 7-8, 11. Rpt. in A Choice of Critics: Selections from Canadian Literature. Ed. George Woodcock. Toronto: Oxford Univ. Press, 1966, pp. 8, 12. Rpt. in Butterfly on Rock: A Study of Themes and Images in Canadian Literature. By D. G. Jones. Toronto: Univ. of Toronto Press, 1970, pp. 17, 20.
Jones mentions "Marvell's Garden" in relation to the garden image in literature, and "A Tall Tale, or a Moral Song" in relation to the image of the whale and Leviathan.
C15 Gnarowski, Michael. Contact: An Index & Historical Background. Montreal: Delta, 1966, pp. 7, 36.
In a discussion of Cid Corman's influence on Raymond Souster, Gnarowski mentions that Corman was critical of the works of some Canadian poets including Webb.
C16 Watters, Reginald Eyre, and Inglis Freeman Bell. "Webb, Phyllis Jean, 1927- ." In their On Canadian Literature 1806-1960: A Check List of Articles, Books and Theses on English-Canadian Literature, Its Authors and Language. Toronto: Univ. of Toronto Press, 1966, p. 163.
Bibliographical data.
C17 Story, Norah. "Webb, Phyllis (1927- )." In her The Oxford Companion to Canadian History and Literature. Toronto: Oxford Univ. Press, 1967, p. 825.
Webb is "a poet who makes striking use of imagery and a variety of moods and forms to convey subtle and compressed insights into subjective experience."
C18 Hulcoop, John. "Phyllis Webb and the Priestess of Motion." Canadian Literature, No. 32 (Spring 1967), pp. 29-39. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Sharon R. Gunton. Vol. XVIII. Detroit: Gale, 1981, 540-42.
Naked Poems "confirms a preoccupation with certain themes" apparent in Webb's earlier work. These themes are love, poetry, and love as poetry. The poems clarify and "perhaps" finalize "a tendency apparent" in the early work "towards reduction or refinement as Miss Webb's characteristic solution to certain technical problems arising out of her particular emotional and intellectual temperament." She is faithful "to the bare...facts of daily experience" and this fidelity is "one of the most powerful and sustaining elements of her poetic vision." In much of the early poetry Webb can be seen moving toward the amalgamation of lyric and narrative, and "...nowhere does the 'lyric intention' intersect the 'narrative line' more dramatically than in the first two suites of the Naked Poems." "Flux," written in 1962, is an example of the "purposive ambiguity" of Webb's early work. The symbol of the sea, "perhaps the most important single symbol throughout Miss Webb's work," appears in Naked Poems as an image of perpetual motion. The language of Naked Poems can be seen in "embryonic form" in earlier work. Naked Poems is the "most elaborate expression of...the theme of 'love as poetry': a subtle metaphorical statement of the act of love as the act of imagination as the act of worship in which the beloved...becomes the poet who becomes the Priestess of Motion whose 'hieratic' utterances are the 'brief lyrics' Miss Webb has written." Webb "intensifies both the personal and non-personal aspects of her own poetry by setting her lyrics within the framework of an allusively suggested narrative, and by relating lyric moods, emotions, states of mind to a particular location."
C19 "Canadian Poetry." CBC Times, 29 April 1967, p. 13.
A publicity piece introducing the program series, Modern Canadian Poetry. Webb makes a statement on the relevance of the series.
C20 New, William H. "A Wellspring of Magma: Modern Canadian Writing." Twentieth Century Literature, 14 (Oct. 1968), pp. 126-27.
Webb is mentioned as a poet who is "writing with sensitivity and skill in Canada today." Her "tight control over imagery, her precision with language, and her personal intensity make her a fine lyric poet." The closing lines from "Marvell's Garden" are quoted.
C21 "Ideas." CBC Times, 1 Feb. 1969, pp. 10-11.
A publicity piece in which Webb talks about CBC Radio's Ideas series. As executive producer she explains the aim, format, and concept of the program. Includes sketchy biographical information.
C22 Dudek, Louis. "2. Poetry in English." Canadian Literature, No. 41 (Summer 1969), pp. 116, 119. Rpt. in The Sixties: Writers and Writing of the Decade. A Symposium to Celebrate the Tenth Anniversary of Canadian Literature. Ed. George Woodcock. Vancouver: Univ. of British Columbia Press, 1969, pp. 116, 119. Rpt. in Readings in Commonwealth Literature. Ed. William Walsh. Oxford: Clarendon, 1973, pp. 261, 264. Rpt. ("Poetry of the Sixties") in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, pp. 276, 279.
Webb is listed among a number of poets who have been ignored critically. She is also listed among "four poets of a preceding generation" who "are aesthetically aware, freely imaginative, experimental, knowledgeable."
C23 Woodcock, George. "Webb, Phyllis." In Contemporary Poets of the English Language. Ed. Rosalie Murphy. London: St. James, 1970, p. 1151. Rpt. in Contemporary Poets. Ed. James Vinson. 2nd ed. New York: St. Martin's, 1975, p. 1641. 3rd ed., 1980, p. 1624.
Webb's publications are "relatively few"; she seems reluctant to publish. Her work is "honed down to an extraordinary intellectual sparseness." Naked Poems is "a collection of pieces ground to gem-like transparency and abstraction." Webb's "philosophic pessimism" controls her development of thought in the poems. She passes from the "elaborate" and the "assured" to the view that "the less one demands of existence, the less one has to defend." Her poems have become "small, simple...packed with meaning." The essay includes a brief biographical sketch and bibliography.
C24 Hulcoop, John. Introduction. In Selected Poems 1954-1965. By Phyllis Webb. Ed. John Hulcoop. Vancouver: Talonbooks, 1971, pp. [9-41]. 2nd ed., 1972, pp. 13-45.
A comprehensive analysis of the development of Webb's poetry from its beginnings in "obsessive subjectivity" toward a more mature and controlled "self-objectification." Hulcoop focuses on some "recurrent aspects of her work" in order to make "meaningful connections between the poems." He traces the movement in Webb's poetry from private to public, a movement away from a "self-pitiful obsession with the despairing self and towards a much more self-critical preoccupation with language as a means of proclaiming or presenting the nature of present things," a movement that is "fundamentally existential in direction." Hulcoop discusses "certain poems" that are "crucial to an understanding of the poet's world-view," which is bleak and pessimistic. In the first three volumes of Webb's poetry, glass, with its "connotations of time...and climate," is a recurring image. The "obsession" with time leads Webb to meditate upon the subject of death. That death does not come is cause for despair, and this, in turn, leads to an exercise on the contemplation of suicide. Because of this there is a "measure of truth" in the accusations of some critics that Webb writes "neurotic, narcissistic and morbidly self-obsessed poetry." However, "...it is equally true, as the poet asserts, that suicide has 'concerned our best philosophers.'" The poem "Lament" "marks a turning point" in the poet's career. In it, the poet's voice becomes "less hysterical" and "more carefully modulated." The poet exhibits a "growing need" to "experiment with poetic forms, and with language" in order to control the "impulses towards self-indulgence and self-pity." After this poem, she becomes "more obsessed...with language," more the observer, more the "exhibitor"; she "cultivates" hardness and projects this into images of bone, stone, and coral. The influence of Rilke and his theory of the five senses is important in moving the poet towards an objective view.
C25 Reference Division, McPherson Library, Univ. of Victoria, B.C., comp. "Webb, Phyllis Jean* 1927- ." In Creative Canada: A Biographical Dictionary of Twentieth-Century Creative and Performing Artists. Vol. I. Toronto: Univ. of Toronto Press, 1971, 302-03.
Bio-bibliographical information.
C26 New, William H. Articulating West: Essays on Purpose and Form in Modern Canadian Literature. [Three Solitudes: Contemporary Literary Criticism in Canada, No. 1.] Toronto: new, 1972, pp. xxiii, 157.
The association of language and "the imaginative images of 'West'" is made clear when the narrator in bpNichol's The Martyrology "reaches Vancouver Island, discovers Phyllis Webb's poetry and understands 'the importance of questions.'" Webb, as one of Canada's mature poets, is "still producing fine works, still developing...[and] responding...to the new writing."
C27 Watters, Reginald Eyre. "Webb, Phyllis, 1927- ." In his A Check List of Canadian Literature and Background Materials 1628-1960. 2nd ed. Toronto: Univ. of Toronto Press, 1972, p. 207.
Bibliographical data.
C28 Shain, Merle. "Some of Our Best Poets Are Women." Chatelaine, Oct. 1972, pp. 48, 103-04.
A popular piece with biographical details, a photograph, and a reprint of "I Can Call Nothing Love" (B64), from The Sea Is Also a Garden.
C29 Gnarowski, Michael. "Webb, Phyllis Jean, 1927- ." In his A Concise Bibliography of English-Canadian Literature. Toronto: McClelland and Stewart, 1973, p. 123. Rev. ed., 1978, pp. 141-42.
Bibliographical data.
C30 S[tory]., N[orah]., and P[eter]. S[tevens]. "Webb, Phyllis (1927- )." In Supplement to The Oxford Companion to Canadian History and Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1973, pp. 311-12.
A brief yet informative statement of the poet's preoccupations. Webb has moved from concern "with self" to a more objective outlook. She uses "meditative stanzas," "tightly structured verse," and images that are "almost" metaphysical. Themes of "love, history, time, public life" are expressed in "images of bones, the sea, open landscapes, and nakedness." Naked Poems are "haiku-like lyrics." Selected Poems "emphasizes the poet's continual concentration on the search for love in a world of loss." The poetic mood is dark, the poetic language "rigorously compressed." The authors include bibliographical information.
C31 Strickland, David. "Quotations" from English Canadian Literature. Modern Canadian Library. Toronto: Pagurian, 1973, pp. 9, 35, 84.
Webb's "Breaking," "Flux," and "Naked Poems: Suite II" are listed under the following headings respectively: "Acceptance," "Consequence," and "Intelligence."
C32 Mays, John Bentley. "Phyllis Webb (for Bob Wallace)." Open Letter, Ser. 2, No. 6 (Fall 1973), 8-33.
Webb's poetry does not mature, it merely changes. It is trivial, directionless, narrow in the sense that it is written for a particular group, and is "distorted" by feeling. Her work is "a mirror of our own small motions and attempts to name, contain, transcend the history in which both we and she have found ourselves," a mirror of our passions, failures, hopes. Webb's inability to make a statement, to locate herself "in some value," her "unwillingness to stop or move, claim or disclaim, or even accept unwillingness," and her desire for absolute freedom, proclaim her work as modern. This attitude is evident, too, in her inability to believe in anything either within or outside the self. Her search to transcend the moral and the material, her "sense of the worthlessness of the body and all history," places Webb in the gnostic tradition. While she "is not a religious poet," she shares with this tradition "a legacy of sensibility." Webb's poetry, like much of modern art, "is about itself; about, that is, the difficulty of the act of making poems." This "is mediated to the reader...in her opinions" and in the form of her poems. She tortures poetry into prose, "into statement or...into nothing at all." "Each poem is an attempt to solve a moral, not an aesthetic problem." Her first three books of poetry "document, not the creative possibilities offered by the manipulation of words, but the progress of a project of selflaceration and a laceration of language itself...." She writes for an e1ite, a "dwindling minority who still worry about...complex and arcane intellectual problems" to whom she poses questions "monstrous, meaningless, pointless."
C33 Colombo, John Robert. "Webb, Phyllis." In his Colombo's Canadian Quotations. Edmonton: Hurtig, 1974, p. 625.
Colombo cites passages that Merle Shain quoted in Chatelaine, October 1972 (C28).
C34 Davey, Frank. "Phyllis Webb." In his From There to Here: A Guide to English-Canadian Literature since 1960. Vol. II of Our Nature--Our Voices. Erin, Ont.: Porcepic, 1974, pp. 261-65.
An informative overview of Webb's work up to 1974. The poetry is about the "pain and absurdity of man's existence," and it explores "worldly and metaphysical desolation." In early poems there is "restraint of image and a directness and economy of language." Nakedness "becomes a dominant theme" and Naked Poems, "brief, understated and ironic," is a culmination of her work. In the Naked Poems Webb uses "a language so private, cryptic, fragmentary, and 'naked' that it almost abandons communication." The poet "collapses into a series of gnomic questions and answers." Her poetry is pessimistic and a-materialistic. She "avoids...fashioning poems of elaborate technical artiface" and finds no solution in the "Christian alternative." She "does not attempt to intellectualize and order her despair," and "trusts only the naked fragments of experience." Her poetry "stands at the juncture between the modernist and postmodernist sensibilities." Davey includes a portrait and a selected bibliography.
C35 Colombo, John Robert. "Webb, Phyllis (b. 1927)." In his Colombo's Canadian References. Toronto: Oxford Univ. Press, 1976, pp. 566-67.
Bio-bibliographic information.
C36 Farley, T. E. Exiles and Pioneers: Two Visions of Canada's Future 1825-1975. Ottawa: Borealis, 1976, pp. 137, 156, 157.
Farley argues that for Webb the ocean image "is petrifying."
C37 Woodcock, George. "Poetry." In Literary History of Canada: Canadian Literature in English. Gen. ed. and introd. Carl F. Klinck. 2nd ed. Toronto: Univ. of Toronto Press, 1976. Vol. III, 312.
Woodcock comments on Webb's scantiness of publication which "seems linked with philosophic difficulties in dealing with her dominant themes of loss and unfulfillment complicated by a purist aesthetic."
C38 Geddes, Gary, and Phyllis Bruce. "Phyllis Webb." In 15 Canadian Poets Plus 5. Ed. Gary Geddes and Phyllis Bruce. Toronto: Oxford Univ. Press, 1978, pp. 409-11.
Although the content of Webb's poetry may appear to be bleak, it is "an affirmation of the human spirit, of the power of the imagination to confront and reshape reality." By her attention to "the visual, auditory, and intellectual nuances of words" the importance of style is emphasized. Webb, herself, in speaking of her poetry, singles out form rather than content. She is a relentless explorer both of the artistic and philosophical aspects of her craft. The authors include a brief biographical sketch.
C39 Stevens, Peter. "Webb, Phyllis (1927- )." In his Modern English-Canadian Poetry: A Guide to Information Sources. Detroit: Gale, 1978, pp. 14, 21, 150-52.
Stevens' comments are preceded by a brief biographical sketch and selected bibliography. The language of the poetry is dense and metaphysical; the themes are history and time, public and private life. Images are of the sea, landscapes, and "figures derived from gardens and enclosed spaces." Webb's mood is bleak.
C40 Mallinson, Jean. "Ideology and Poetry: An Examination of Some Recent Trends in Canadian Criticism." Studies in Canadian Literature, 3 (Winter 1978), 93-97.
An examination of John Bentley Mays's article in Open Letter (C32) and comment on Frank Davey's remarks on Webb in From There to Here: A Guide to English Canadian Literature since 1960 (C34). Mays's article is an "extravagant, malevolent, and self-indulgent piece of ideological criticism" which is directed at Webb's putative beliefs rather than at her artistry or technique. Mays's "desperate, irrational ill will" arises at least partly out of "culturally enforced expectations about attitudes appropriate to females." Webb will not be what "he [Mays] needs her to be," an "earth-mother Solveig, Penelope, waiter and shelterer." Mays's "rite of exorcism" arises out of his past personal experience, is "ideological in its foundations" and "prescriptive in its definition of the authentic." One of the dangers of ideological criticism is that it can influence others who either "have not made up their own minds or who share the ideological bias of the original writer." This is the case with Davey who takes over Mays's view of Webb "without question as received opinion." Since Davey's book is designed for use by students in high schools and universities his biased approach is particularly unfortunate.
C41 Marshall, Tom. Harsh and Lovely Land: The Major Poets and the Making of a Canadian Tradition. Vancouver: Univ. of British Columbia Press, 1979, pp. xiv, 117-18.
"The assumption...of a distinctive Canadian free-verse idiom that is...appropriate to the new reality of stretching space and multiple perspective" may be found in Webb's poetry. Along with Joan Finnigan, Webb is a poet who is "bizarre" and "passionate." She articulates a bleak view of the world and, with Eli Mandel and Leonard Cohen, sees "the world as a mad labyrinth." Webb maintains a formal control which gives some of the poems "remarkable tension."
C42 Pacey, Desmond. Essays: Canadian Ltterature in English. Ed. and preface A. L. McLeod. Foreword H. H. Anniah Gowda. Powre above Powres, No. 4. Mysore, India: The Centre for Commonwealth Literature and Research, Univ. of Mysore, 1979, p. 128.
Webb "uses the exploration of her own personal perceptions and sensations as a means to consider such universal questions as the relationship between appearance and reality, love and pain, time and eternity. She is adept at finding in the external world images of her own inner states, something in the manner of George Herbert or Andrew Marvell: for all the modernity of her free verse forms, her sensibility is closely akin to that of the seventeenth century...." Her verse has "lithe grace and energy."
C43 Woodcock, George. "The Life of the Arts." In his The Canadians. Don Mills, Ont.: Fitzhenry and Whiteside, 1979, p. 269.
"Among Canadian poets writing vigorously today...Phyllis Webb [etc.]...are the most interesting, established names."
C44 Birney, Earle. Spreading Time: Remarks on Canadian Writing and Writers, Book 1: 1904-1949. Montreal: Vehicule, 1980, p. 151.
Birney recalls meeting Phyllis Webb, "who was beginning to write most original and sensitive lyrics," at a Victoria bookstore in 1949.
C45 Woodcock, George. The World of Canadian Writing: Critiques & Recollections. Vancouver: Douglas & McIntyre, 1980, pp. 6, 15, 152.
Woodcock recollects meeting Webb in Vancouver. He mentions her as part of the Canadian literary movement of the 1950s. Webb is one of the poets whom he associates with Margaret Atwood's "sophisticated poetic utterance."
C46 Woodcock, George. Taking It to the Letter. Montreal: Quadrant, 1981, p. 156.
Woodcock includes a letter to Webb thanking her for sending him a copy of Wilson's Bowl and commenting on his sense of despondency, particularly at the death of friends.
C47 Atwood, Margaret. Introduction. In The New Oxford Book of Canadian Verse: In English. Ed. Margaret Atwood. Toronto: Oxford Univ. Press, 1982, p. xxix.
In a discussion of why there are few, but excellent, women poets in Canada, Atwood notes "...it would be a vast and inaccurate insult to claim that twentieth-century poets of the calibre of P. K. Page, Margaret Avison, Phyllis Webb, Dorothy Livesay...[et al.] made it into print as part of somebody's quota."
C48 Stevens, Peter. "Phyllis Webb 1927- ." In Canadian Poetry. Ed. Jack David and Robert Lecker. Introd. George Woodcock. New Press Canadian Classics. Toronto/Downsview, Ont.: General/ECW, 1982. Vol. II, 291-93.
Webb's poetry presents a bleak world, yet it is tempered by irony. She "shapes her own responses within clearly defined limits." Her poems contemplate "large universal movements and cycles expressed in images of sea and bones" as well as "enclosed spaces with images of rooms and gardens." There is a tension between inner and outer worlds. Her carefully crafted and controlled poetry is an attempt to control existence. Her language is moving "towards a clarity of speech that occasionally breaks out into a colloquial, throw-away style." Stevens includes bio- and bibliographical data.
C49 Thesen, Sharon. Introduction. In Selected Poems: The Vision Tree. By Phyllis Webb. Vancouver: Talonbooks, 1982, pp. 9-20.
As a "'West Coast writer,'" the consciousness of language is privileged before content, and the poet's ego is not an important issue. "What distinguishes [Webb's] poetry is the quality and range of its operations within a lyric mode, and the formality of its energies." She is self-conscious and careful with craft; her concerns are formal, rather than literal. The ends of the poems deny closure; rather, they are open and reflect back into the poem. The silences within the phrasing and during the line-breaks, the places of energy or "desire," constantly re-form the poem. Moving into a new line subdues desire and, therefore, despair, for the moment. In Webb's verse, decorum is "suspended in its diction, not in its subject matter." While after Naked Poems the poet returns to "the lyricism of her earlier work," she has "shed the formally patterned stresses that characterized much of it." Webb's mind moves "toward composure," which discourages her imitating the syntax of haiku even though she makes use of the tension in the form. Her poems are not "linguistic or ideological battlegrounds," but "an energy composed inside the diction and consciousness of the poem." Webb's "I" is transient, rather than a fixed point. The poems are disclosed through their intimacy, which is connected with their reticence, their composure, and the sensuality of their imagery. Such disclosures, however, "lead always...to the Otherness of the thing disclosed." Webb has an identifiable voice. "The transparency of formative influences...in the earlier work is steadily subsumed and transmuted...into a texture that is singularly Webb's voice, rhythm, and attitude." Webb is not devoted to or overly concerned with pain and anguish; her statement is universal, rather than personal. She writes no more of human cruelty, pride, and despair than she does of "redemptive dreams and visions, the witty and perceptive portraits,...or the loveliness of nature." Thesen discusses a connection between two of Webb's major symbols, the vision tree and Wilson's Bowl. Finally, "Webb's art is humane, felicitous, and almost unbearably competent."
C50 "Webb, Phyllis 1927- ." In Contemporary Authors: A Bio-Bibliographical Guide to Current Writers in Fiction, General Nonfiction, Poetry, Journalism, Drama, Motion Pictures, Television, and Other Fields. Ed. Frances C. Locker. Vol. CIV. Detroit: Gale, 1982, 504.
Bio-bibliographical data.
C51 Woodcock, George. "Canadian Poetry: An Introduction to Volume Two." In Canadian Poetry. Ed. Jack David and Robert Lecker. New Press Canadian Classics. Toronto/Downsview, Ont.: General/ECW, 1982. Vol. II, 21-22.
Webb, "a poet up to now greatly under-rated, has offered a small but exquisite production of poems high in moral intensity and intense even in doubt...."
C52 Dragland, S. L. "Questions of Form in Contemporary Canadian Writing." TICS [Univ. of Western Ontario], 1, No. 1 (March 1982), 20.
In a discussion of different critical forms, Dragland cites Webb's second-person "Letters to Margaret Atwood" (B68).
C53 Wachtel, Eleanor. "Prize and Prejudice." Books in Canada, March 1982, p. 9.
In an account of the bizarre choices of books that have been awarded the Governor-General's Award, Wachtel wonders why Wilson's Bowl, "widely deemed a significant work," was not even mentioned at the ceremony.
C54 Lane, M. Travis. "Contemporary Canadian Verse: The View from Here." University of Toronto Quarterly, 52 (Winter 1982-83), 180, 187, 190.
In an argument concerning contemporary poets and critics, Lane notes "the literal meanings of sensuous, life-affirming, social-value-and-community-affirming formal poetry" of Webb, among others. Webb's poetry "may be both lyric and meditation, both analytic and self-expressive."
C55 Bennett, Donna, and Russell Brown. "Phyllis Webb, b. 1927." In An Anthology of Canadian Literature in English. Ed. Donna Bennett and Russell Brown. Vol. II. Toronto: Oxford Univ. Press, 1983, 225.
Webb's poetry is introspective, suggesting "strategies for survival" in a sterile, meaningless world. At the same time, "...many of her poems allude to a wide range of interests in the world around her." Her pessimism is "leavened with wit," and her stance is consciously existentialist. The article includes a brief biographical sketch.
C56 Geddes, Gary. "Webb, Phillis (b. 1927)." In The Oxford Companion to Canadian Literature. Ed. William Toye. Toronto: Oxford Univ. Press, 1983, p. 825.
Webb's early work contains "considerable clarity of statement and elegance of diction." Her minimalist poems in Naked Poems are "starkly and disturbingly beautiful." Geddes notes Webb's "unique...musical and intellectual gifts, achieving a wonderful synchronicity of sound and idea.... Webb asserts the healing and restorative powers of poetry." Her arguments on "the creative process and the use of the poetic line" are "insightful" and "masterfully woven arguments." Geddes includes bio-bibliographical data.
C57 Fitzgerald, Judith. "A Brief Blossom, Impressive Results." The Globe and Mail [Toronto], 19 March 1983, p. 14.
Fitzgerald notes that CIV/n "provided some of North America's most celebrated poets (Leonard Cohen, Robert Creeley, Irving Layton, Eli Mandel, Charles Olson, Phyllis Webb, for example) with one of their first public forums."
C58 N[ew]., W. "Re: Forming Giants." Editorial. Canadian Literature, No. 97 (Summer 1983), p. 5.
Webb's Sunday Water is subtitled "Thirteen Anti Ghazals" because the poems adapt the form "to her own purposes." New cites "[Ten white blooms on the sundeck....]" and notes that the anti-ghazals are "unrhymed, asymmetrical, crafted for the pauses of silence and intake as much as for the rhythms of utterance.... This is song waiting for an understanding listener."
C59 "NL Acquires Webb, Smart Papers." Quill & Quire, Sept. 1983, p. 69.
The article notes the National Library's acquisition of Webb's post-1967 papers. The contents of the archives are briefly noted and accompanied by brief bio and bibliographical data.
C60 "Cultural Events." National Library News, Nov. 1983, p. 16.
This piece announces Webb's visit to Ottawa and public reading at the National Library as part of a cultural events program in support of Canadian studies. The recent acquisition of Webb's papers by the National Library is noted, and a photograph is included.
C61 Wachtel, Eleanor. "Intimations of Mortality: Once Threatened by 'the terrible abyss of despair,' Phyllis Webb Has Moved Beyond Mysticism and Anarchy to a Curiously Domestic Isolation." Books in Canada, Nov. 1983, pp. 8-9, 11-15.
This profile includes biographical details, the poet's views on a variety of topics, and some discussion of the poetry itself. The early poetry, "often expressed in extremes or paradox reminiscent of the complex verbal precision of the meta-physical poets," is permeated by a dark vision. Webb discusses physiological symptoms that contributed to this darkness and feels that since treatment she has "a much more cheerful, jolly personality." Her work with the CBC, her early poetic influences, such as F. R. Scott, her political affiliations, her life on Salt Spring Island, are touched upon. This is interspersed with atmospheric details--"Lunch is a shrimp salad with butter lettuce, artichokes, and avocados"; "Her cats, Leo and Isobel, pad in and out of the kitchen...." Webb comments on such wide-ranging subjects as women and success, her connections with the earth, patriarchal structure and order. Her shift in consciousness from "a Marxist-anarchist perspective to a feminist one" is thought by John Hulcoop to be "'the most important political event in Phyllis' life.'" Webb's most recent work is the ghazal form which she breaks deliberately, both in subject matter and in form itself, to write anti-ghazals. Photographs of the poet are included both in the article and on the cover of the issue.
C62 Graham, Ron. "The Governor General Honours a Cat-Lover-Against-the-Bomb." Saturday Night, Dec. 1983, p. 80.
Graham discusses the Governor-General Literary Awards ceremony. A colour photograph of Webb receiving the award from Governor General Ed Schreyer is included.
C63 Whiten, Clifton. "Phyllis Webb: A Profile." Poetry Canada Review, 5, No. 2 (Winter 1983-84), I, II.
Whiten writes a brief introduction to the poem "I Daniel," published in the same issue (B101). Her poetry is "rich in imagery and dense in meaning." The cover of this edition features Webb's photograph and announces her Governor-General's Award in 1982.
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C80 Canadian Government Overseas Award for Creative Writing (1957).
C81 Canada Council Junior Arts Grant (1963-64).
C82 Canada Council Senior Arts Grant (1969-70).
C83 British Columbia Library Association Award (1972).
C84 Governor-General's Award for Poetry for Selected Poems: The Vision Tree (1982).
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C64 Fulford, Robert. Interview with Dennis Barton, Ronald Bloore, John de Viser, Kildare Dobbs, Julius Kohangi, William Kurelek, Morley Markson, William McElcheran, Arnaud Meggs, Paul Rockett, David Lewis Stein, and Phyllis Webb. This Is Robert Fulford. Prod. Geraldine Sherman. CBC Radio, 4 March 1969.
Fulford interviews winners of The Canada Council senior fellowship. Webb had already planned to leave the CBC, but this will make "it easier to try to get back to a writing life." She talks about the problems involved in earning a minimum income and hopes she "won't ever have to devote all my psyche to money-making work." Webb found it "difficult to receive money free." The list of winners in the writing category was "puzzling" and the list as a whole was "very conservative."
C65 Stainsby, Mari. "An Interview with Phyllis Webb." British Columbia Library Quarterly, 36, Nos. 2-3 (Oct.-Jan. 1972-73), 5-8.
The interview deals with childhood, questions about writing and Webb's work with CBC, her life on Salt Spring Island, and her trip to Russia.
C66 Dedyna, Katherine. "Poet Writes About Love and Pain, Even Suicide." The Edmonton Journal, 18 Oct. 1980, p. I14.
Webb talks about her move away from Salt Spring Island and her position as writer-in-residence at the University of Alberta. While she agrees that her vision is dark, she does not see her poems as negative. "Just writing it is some kind of affirmative act." She believes that poetry "should be emotional." A portrait is included.
C67 Harron, Don. "Interview with Phyllis Webb." Morningside. CBC Radio, 21 Jan. 1981. (16 min., 35 sec.)
A radio interview in which Webb talks about her recent works, reads material, and discusses perceptions of her role as writer-in-residence at the University of Alberta.
C68 Serviss, Shirley A. "Phyllis Webb: 'Poetry is Soul Work.'" Writers' Guild of Alberta Newsletter, 1, No. 2 (March 1981), 6.
Webb discusses her reluctance to publish. Writing poetry is difficult "emotionally, and in practical terms." She is inspired in her poetry by her reading and is aided by her dreams. "My dreams bring me images for my poems." Her public life as writer-in-residence at the University of Alberta in Edmonton during the 1980-81 academic year has not been conducive to writing poetry.
C69 "PCR Interview with Phyllis Webb." Poetry Canada Review, 2, No. 3 (Spring 1981), 8.
Webb discusses what her poetry means to her, the function of silence in the writing of her poetry, the value of risk-taking versus security in the artist's life, the role of Canada in the work of the Canadian artist, and her role as a teacher.
C70 Hulcoop, John. "An Interview with Phyllis Webb." Anthology. Prod. Eithne Black. CBC Radio, 25 April 1981. (40 min.)
A pre-taped interview in which Webb discusses several aspects of Wilson's Bowl, in particular the disparity between concept and realization in "Poems of Failure," the dominance of the male figure in "Portraits," the question as an instrument of both torture and revelation in "A Question of Questions," and the petroglyph image of the "Wilson's Bowl" sequence. There is also some discussion of more general aspects of writing and of the literary scene in Canada, the fairly recent "star" system, and the role and importance of reviewers.
C71 Interview with Phyllis Webb. Morningside. CBC Radio, 21 Jan. 1983.
Webb discusses the archeological allusions in Wilson's Bowl, briefly discusses where she lives, being a writer-in-residence, and giving readings of her work. She has been tempted to write short stories, but feels she has "a purely poetic talent." The size of an audience of a reading reflects "a lack of our public life.... Poets have become a smaller and smaller elite." She tries to "keep up with" Canadian poetry, reads some American poetry, but British poetry has "gone by the boards." Webb discusses a number of poets who may have influenced her work in the past, including Dylan Thomas whom she once had to stop reading because his "influence was so pervasive." Canada has "an enormous number of very promising poets." After briefly discussing her work as a broadcaster and teacher and the Canada Council grants she has received, Webb notes that "I like to work at other things. I cannot write poetry all the time. I'm not that kind of poet." Webb also reads a few poems (B270-B272).
C72 Scobie, Stephen. "Canada's Finest Poet." Victoria's Magazine [Monday], 15-21 April 1983, pp. 17-18.
Webb responds to questions about her time in Europe, her philosophy of place, her return to involvement in political and social issues, her role as a teacher of creative writing at the University of Victoria, how she came to write Naked Poems and to use the Persian form of the ghazal, and the charge that her poetry is dark, gloomy, and pessimistic. This interview supplies a brief biographical sketch as well as Scobie's critical comments on Webb's new Selected Poems: The Vision Tree, in which the poet displays a remarkable range of poetic voice. She moves from "brief lyrics of sensual passion to philosophical reflections...on life, death, and suicide.... The ultimate impression left by her poetry is one of beauty."
C73 Fitzgerald, Judith. "No Longer a CanLit Goddess of Gloom: Phyllis Webb Clears the Air." The Globe and Mail [Toronto], 11 May 1983, p. N16.
Webb is interviewed at Write On '83, a conference on women's writing sponsored by Atkinson College at York University. She disagrees with the assessment of her poetry that places it in a "doom and gloom" category and, instead, emphasizes the humour in her work. Webb feels that a more accurate assessment of her work is Sharon Thesen's Introduction to Selected Poems: The Vision Tree. The poet talks about her involvement with Amnesty International, her position as a feminist and a woman writer of the eighties, as well as her feelings about the Governor-General's Award.
C74 Gabereau, Vicky. Interview with Phyllis Webb. Variety Tonight. CBC Radio, 7 June 1983.
Webb talks about her home on Salt Spring Island and notes that it has had a good influence on her work. Teaching has changed her "reputation as a recluse" by encouraging her to be more social. In her early fifties in Montreal, she first realized that writing "was my life commitment." Webb does not often write "mood pieces," and "the poems tend to happen as wholes." She notes she is "a pretty grim poet on the whole, but I do think that on occasion I'm funny." After discussing her prose work, she recalls a trip to San Fransisco and briefly mentions some of her experiences while working at CBC. She talks about teaching, the writing workshops she conducts, and states that she had a lot of mentors. The interview concludes with Webb saying that she has never won an award or prize for her work. The program includes Webb reading two poems (B273 and B274).
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C75 Bowering, George. "Phyllis Webb." In his The Silver Wire. Kingston: Quarry, 1966, p. 62.
A poem about Webb.
C76 Anderson, Mia. "Ten Women, Two Men and a Mouse." Narr. Mia Anderson. Anthology. Prod. Claudette Lenihan. CBC Radio, 30 Dec. 1972.
In a radio adaptation of the stage show, Mia Anderson reads excerpts of writing by Canadian women, including Webb.
C77 Bowering, George. "Phyllis Webb." In his Curious. Toronto: Coach House, 1973, p. [41].
A poem about Webb.
C78 Tallman, Warren. "Open Letter to Phyllis Webb: 'Some Consistent Quality of Intelligent Love.'" Vancouver Poetry Centre Newsletter, 15 June 1979, p. [2].
Tallman responds to complaints concerning the "Writing in Our Times" Benefit Readings for West Coast Literary Presses. The complaints include the "invasion" by American poets at these readings and the exclusion of novelists, playwrights, or critics at the readings.
C79 VanWart, Alice. "Altus (for Phyllis Webb)." Island [Lantzville, B.C.], No. 10 (Fall 1981), p. 79.
A poem for Webb.
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D3 House, Vernal. "Quarry in the Myrtle Marshes." Rev. of The Selected Poems, by Raymond Souster; Let Us Compare Mythologies, by Leonard Cohen; and Even Your Right Eye, by Phyllis Webb. The Globe and Mail [Toronto], 16 June 1956, p. 8.
Webb is "poetically inhibited." The syntax of the poems is so difficult as to be overwhelming. Though images are striking they "suggest no more than verbal roman candles." However, in "Sprouts the Bitter Grain" the poet shows control of her central symbol.
D4 Pacey, Desmond. "A Group of Seven." Queen's Quarterly, 63 (Autumn 1956), 436, 442-43. Rpt. ("A Group of Seven Poets") in Essays in Canadian Criticism 1938-1968. By Desmond Pacey. Toronto: Ryerson, 1969, pp. 112-13, 120-21.
Webb's greatest gift is her "capacity to find the apt concrete symbol for idea or feeling." She has not yet found her direction, has a tendency to focus on poets and poetry instead of first-hand experience, and sometimes falls into whining complaint. Although she has gifts of melody and imagery, there is too much "wistful pathos."
D5 Frye, Northrop. "Letters in Canada: 1956. Poetry." University of Toronto Quarterly, 26 (April 1957), 306-07. Rpt. in The Bush Garden: Essays on the Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, pp. 64-65.
Webb's techniques are contemporary and she has a talent for "sophisticated light verse." A combination of "decorative elegance" in diction and melancholy in mood shows influences of Marianne Moore and Wallace Stevens. Doubt, loneliness, and unhappiness contribute to Webb's most successful writing. However, there are "some uncertainties in the style," and sometimes the syntax is strained. "Earth Descending" is "still perhaps her best single poem."
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D18 Cogswell, Fred. "From the Canadian Private Presses." Rev. of Wrestle with an Angel, by R. G. Everson; Naked Poems, by Phyllis Webb; The Beast with Three Backs, by Tom Eadie, Tom Marshall, and Colin Norman; and The Enchanted Adder, by Rona Murray. The Fiddlehead, No. 68 (Spring 1966), pp. 69-70.
"Love and metaphysics still preoccupy Phyllis Webb." These poems are not metaphorical; rather they rely upon "a juxtaposition of concrete images" as in haiku. This gives the impression of honesty, clarity, economy, and control.
D19 Corrington, John William. "Nouveau Gnomic Poetry?". Northwest Review, 7, No. 3 (Spring 1966), 111-12.
Webb is following a poetic fad of short, tight, Narcissistic form and content. The poems are counterfeits of bad originals.
D20 Pearson, Alan. "Poetry Chronicle." The Tamarack Review, No. 39 (Spring 1966), p. 87.
Naked Poems is a waste of money, at $2.25, for fifty pages and a total wordage of about five hundred. Webb's "sensibility is so special it almost completely evaded [the reviewer's] comprehension."
D21 MacCallum, Hugh. "Letters in Canada: 1965. Poetry." University of Toronto Quarterly, 35 (July 1966), 371-72.
The recent experiments of Phyllis Webb are "anti-rhetorical." These poems are "in the manner of haiku," enclosed by silence and space. This is emphasized by the placement of the poems on the pages. The effect is one of "meditation arrested and brought into focus by a clear, isolated image."
D22 Woodman, Ross. "Six Poets." Alphabet, No. 13 (June 1967), pp. 75-77.
The format of this book of poems is so related to its content that if separated they are not fully realized. A love affair between two people is at the same time a love affair between poet and printed poems. Even the "act of turning the page is part of the rhythm of the poems." These haiku-like lyrics are "perhaps" influenced by Resnais' Hiroshima Mon Amour.
D23 Seaman [sic; Seamon], Roger. Rev. of The Circle Game, by Margaret Atwood; and Naked Poems, by Phyllis Webb. Quarry, 16, No. 4 (Summer 1967), 40-42.
These poems explore "the possibilities of silence." However, they sometimes lose intensity because one "hasn't had enough to get moving." They are sometimes "too much on the side of silence." There is "too much denial of the referential side of words," and the poems sometimes seem "more un-fleshed than naked." The main drive, the drive toward open metaphor, "total rhythm of sound, syntax and image, is in the central tradition of modern poetry." However, sometimes "trying to pare the poem down to the essential metaphor...can lead to a lack of connection and a lessening of energy."
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Source: Frey, Cecelia (compiler); . Part 2: Works On Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 419-446 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP2.
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- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Criticism & interpretation -- Bibliography
Titles critiqued: SELECTED poems 1954-1965 (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
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Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 419-446)
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Part 2 Works On Phyllis Webb; Selected book reviews; Selected Poems 1954-1965
Frey, Cecelia (compiler)
D24 Rosenthal, Helene. "The Luminous Webb." The Ubyssey [Univ. of British Columbia], 24 Sept. 1971, Sec. Friday, pp. 7-8.
In spite of Webb's oppressive time-sense, "one comes out of the book with a sense of exhilaration." This is due to the poet's mastery of form and also her balanced vision, a "countercompassing" that lets her couple such poems as "Pain" and "Patience," and "Making" and "Breaking." "Out of femininely felt responsibility for the quality of life" Webb speaks for us all. The reviewer cites John Hulcoop's introductory essay (C24), but does not find the poems themselves "guilty" of "self-pitiful obsession." They "transcend their causation." There is particular discussion of "And in Our Time" in which "we intuit the death of love at its very source" and "A Pang Cantata" in which "wit has metamorphosed" pain.
D25 Weaver, Robert. "A Puritan Dudek, an Inefficient Webb." Rev. of Selected Poems 1954-1965, by Phyllis Webb; and Collected Poetry, by Louis Dudek. Saturday Night, Nov. 1971, pp. 50, 52.
The book itself is a "pretentious mess." Webb is "an intensely, painfully personal writer" who "causes...personal responses in her readers." At times she may seem "too self-obsessed," too "neurotic." However, this collection demonstrates that her work, intellectually and emotionally, forms a whole. "Nakedness of feeling shouldn't obscure the fact that she is a patient and professional craftsman."
D26 Zitner, S. P. "Peeling Off." Books in Canada, Nov. 1971, p. 21.
This book is an important and distinctive achievement. John Hulcoop's Introduction (C24), while devoted, is informative, and always at the service of the poems and the reader. Zitner gives a brief analysis of enclosure imagery and themes. Naked Poems is a culmination of Webb's work, and she is on the verge of something new.
D27 Stevens, Peter. "Creative Bonds in the Limbo of Narcissism." The Globe and Mail [Toronto], 4 Dec. 1971, p. 33.
The book is a fine achievement. Webb responds through her senses and has moved away from an obsession with self.
D28 Lane, M. Travis. "Rare Mountain Air." The Fiddlehead, No. 92 (Winter 1971-72), pp. 110-14.
John Hulcoop's essay (C24) dominates the book. Four of the Naked Poems are actually long, single poems connected by structural meaning, described situation, language, and "plot." Nakedness can be "a gesture covering the vulnerability of extended expression." The small genre does not offer much originality, but Webb's "literary, highly rhythmic, often rhymed...unfashionable poetry" is good. She passes the reviewer's test for structural integrity, emotional effectivness, rhetorical eloquence, for being unique and memorable. Because her thoughts are insights, not solutions, she structures by metaphor, not argument. For illustration of this point, Lane discusses "Rust on an Anchor."
D29 Barbour, Douglas. Rev. of Selected Poems 1954-1965. Quarry, 21, No. 1 (Winter 1972), 61-63.
Barbour analyses why the poems work. Webb's artistry "transcends her content" and transforms it into art. Her style is understated, her tone sometimes prosaic. While the poetry is "witty and learned, full of allusions and literary references, it is not dry or academic because she is fully present in her speculations." Naked Poems is about life and death and "art's mediation between them."
D30 Macfarlane, Julian. Rev. of Selected Poems 1954-1965. The Capilano Review, 1, No. 1 (Spring 1972), 53-58.
This selection closely adheres to Webb's poetic development over fifteen years. Macfarlane disagrees with those who would call her poetry Existential. Her despair "rests upon poetic intuition, not metaphysics." It is pathos which "gives continuity to her poetic development." If her early poems are obsessive, "it is not her subjectivity, but her sense of the power and the weakness of words." In her development she "realizes the insufficiency of past tradition, of convention, of her history...as a source of poetic tools." Her poetry conforms to haiku aesthetic essentials.
D31 Stevens, Peter. "Shaking the Alphabet." Canadian Literature, No. 52 (Spring 1972), pp. 82-84.
Webb's themes are love, history, time, and public life. They are expressed in images of bone, the sea, open landscapes, and nakedness. However, "...she also tries to enclose in the poems images of defined areas." Stevens traces briefly the poet's movement and development. "Poet," an early poem, is "almost morbidly subjective." Naked Poems is a culmination of ideas. The works in this selection "contain ironies, a delight in word play and in some of the later poems a kind of undercutting self-mockery."
D32 Coldwell, Joan. "A Landscape of the Body." The Victoria Daily Times, 1 April 1972, p. 14.
This book is an impressive record of poetic development. While Webb makes use of natural imagery, such as sea and rock, her landscape is that of the body and the mind, an "intellectually conceived analogue" rather than a "sensuously recreated setting." "One can see in this collection a steady development of form toward the simplicity, roundness and hardness of the Naked Poems."
D33 Fox, Gail. Rev. of Selected Poems 1954-1965. The Canadian Forum, May 1972, pp. 70-71. Rpt. (excerpt) in Contemporary Literary Criticism: Excerpts from Criticism of the Works of Today's Novelists, Poets, Playwrights, and Other Creative Writers. Ed. Sharon R. Gunton. Vol. XVIII. Detroit: Gale, 1981, 542.
The poems are exciting and John Hulcoop's Introduction (C24) is careful. Fox briefly traces Webb's development. Her concerns, carried to an intense degree, are love, death, time, despair, and art. "There is wit, resignation, and a dark humour." Many images are harsh and "startling." There is nothing extraneous or redundant in any of the poems, "no distracting ambiguities of feelings."
D34 Vernon, Lorraine. "Poems That Act Like Windows." Rev. of Selected Poems, 1954-1965, by Phyllis Webb; and Purdy Selected, by Al Purdy. The Vancouver Sun, 23 June 1972, p. 32A.
Webb is a "most extraordinary" poet whose "psychic homeland is an inner terrain." Special mention is given to Naked Poems and "Alex." Webb's poetry is lucid, redemptive, lyrical.
D35 Ronan, Tom. Rev. of Selected Poems 1954-1965. Tuatara [Victoria], [All-Canadian Issue], Nos. 8-9 (Fall 1972), p. 107.
Ronan finds Webb obscure and sketches the poet's development culminating in Naked Poems, which deals with "human interaction," rather than "self-preoccupation."
D36 Almon, Bert. "Triumphs of the Sun: 3 Seasoned Poets." Rev. of Driving Home: Poems New and Selected, by Miriam Waddington; Collected Poems: The Two Seasons, by Dorothy Livesay; and Selected Poems 1954-1965, by Phyllis Webb. New: American and Canadian Poetry [Trumansburg, N.Y.], No. 24 (Fall 1974), pp. 107-08.
Webb "has written some of the most difficult poetry of our time and some of the most accessible." Her formal range is amazing, but because of her high standards she has not produced a large body of work. She writes about suffering, and her defense against vulnerability is nakedness. Naked Poems moves away from "the intellectual and myth-making techniques of the earlier work."
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Source: Frey, Cecelia (compiler); . Part 2: Works On Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 419-446 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP2.
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Record: 495- Title:
- Part 2 Works On Phyllis Webb; Selected book reviews; Selected Poems: The Vision Tree
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- Part 2 Works On Phyllis Webb; Selected book reviews
- Record Type:
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- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Criticism & interpretation -- Bibliography
Titles critiqued: SELECTED poems: The vision tree. (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 2: Works On Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 419-446)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Part 2 Works On Phyllis Webb; Selected book reviews; Selected Poems: The Vision Tree
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D57 Helwig, David. "Canadian Poets: Three New Books." Rev. of Selected Poems: The Vision Tree, by Phyllis Webb; Townswomen and Other Poems, by Rosalind Eve Conway; and Aggressive Transport, by Brian Fawcett. The Toronto Star, 2 April 1983, p. C11.
Helwig admires Webb's poems, "but always with a certain detachment." Her "range is wide, and one can watch the manner of changing from one decade to the next." Naked Poems marks her transition from traditional "devices of rhythm and image." Webb's qualities are "care and stillness."
D58 Neilsen, Lorri. Rev. of Selected Poems: The Vision Tree. The Calgary Herald, 23 April 1983, p. J4.
Webb's voice is "strong" and "intelligent." This collection is commanding in its display of the stages of the poet's work over a time span of thirty years.
D59 Bemrose, John. "Poetry: Thought, Religion and Passion." Rev. of Selected Poems: The Vision Tree, by Phyllis Webb; Winter Sun/The Dumbfounding: Poems 1940-66, by Margaret Avison; Selected Poems 1972-1982, by Robert Bringhurst; and As Close as We Came, by Barry Callaghan. The Globe and Mail [Toronto], 28 May 1983, Sec. Entertainment, p. 17.
Webb's "brilliantly argued and finely crafted work gives the impression of a mind under tremendous duress, forced to the limits of doubt, of invention, of possibility." The poems "are often difficult" and "much concerned with darkness and death," but "...the tenuous solaces, philosophic and esthetic, that Webb wins in the face of her despair are hard-won and thrilling." Bemrose quarrels with the "inclusion of many of Webb's shorter, haiku-like poems," but the book "is a rich sampling of her best work."
D60 Djwa, Sandra, and R. B. Hatch. "Letters in Canada: 1982. Poetry." University of Toronto Quarterly, 52 (Summer 1983), 345-46.
Webb "began to write out of a strong sense of an established tradition, but in the Selected Poems: The Vision Tree...she reveals an increasing interest in freedom with language and form." Her changes in form from book to book are briefly noted. "Webb's stature as one of our best modernist poets is now well established."
D61 Mandel, Ann. "The Poetry of Last Things." Essays on Canadian Writing, No. 26 (Summer 1983), pp. 85-91.
Mandel questions Webb's inclusion of an apology for her recent poetic silence, since "The poems in Wilson's Bowl are strong poems and may be all the better for the time spent on their crafting," and "since the subject of silence, the questioning of silence, is one of the concerns of this book and has been in all her books to date." Mandel outlines the different sections and themes in the book and notes that the book is "a 'leaving,' only partly in the sense of 'offering,' but more a 'leaving behind,' or an attempt to do so, of dominating presences, presiding instructors, an effort at throwing away the names of the great, throwing off the rhythms, the music that once enthralled. The poet struggles to throw off silence, too, but only if the words that then come are new words, her own language." Webb's second apology "for the dominance of male figures in the book" connects with her first apology for silence, since "to utter in their presences, to perform, requires awesome egotistical competitiveness.... Webb has for the most part withdrawn from competition, leaving the white male gods of marble or flesh behind, retreating to mockery, to silence, and to the phenomenal world." Mandel notes the traditionally cited allusions to Auden and Hopkins, but also points out a similarity between passages from "The Kropotkin Poems," 1967, and Adrienne Rich's The Dream of a Common Language, 1977.
D62 Garebian, Keith. "Gestures of Love." Rev. of Selected Poems, by Fred Cogswell; The Moment Is All: Selected Poems 1944-1982, by Ralph Gustafson; and Selected Poems: The Vision Tree, by Phyllis Webb. Books in Canada, Nov. 1983, pp. 34-35.
At first, Webb's poems seem to be quotidian gestures in which "the familiar is transformed into the strange or mysterious." These gestures, "one important device in Webb's poetic strategy," are "shrewdly chosen, without any false effort toward the grand style, and they reflect an attempt to write and live without feeling ultimately absurd or petty or negligible." In these poems, Webb moves toward composure, from familiar, humane wisdom to cognitive disclosures, to the topical, dialectical, and private anti-ghazals. "Finally, however, the defining authority of Webb's best poetry comes from her deciphering mind and heart."
D63 Dempster, Barry. Rev. of Selected Poems: The Vision Tree. Poetry Canada Review, 5, No. 2 (Winter 1983-84), 3.
The book offers "prolonged glimpses" of Webb's "ever-evolving style.... With always precise language and most remarkably what seems to be purely undistracted thought, The Vision Tree queries the universe without the shrillness of demands.... Her poetic world is one in which she is always graceful, despite the absence of peace, the hopelessness of hope itself."
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Source: Frey, Cecelia (compiler); . Part 2: Works On Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 419-446 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP2.
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- Part 2 Works On Phyllis Webb; Selected book reviews; Sunday Water: Thirteen Anti-Ghazals
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- Part 2 Works On Phyllis Webb; Selected book reviews
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- Genre(s):
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Titles critiqued: SELECTED book reviews; Sunday water: Thirteen anti-ghazals (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 2: Works On Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 419-446)
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Part 2 Works On Phyllis Webb; Selected book reviews; Sunday Water: Thirteen Anti-Ghazals
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D64 Beardsley, Doug. Rev. of Sunday Water: Thirteen Anti-Ghazals. The Reader [Vancouver], 2, No. 3 (Oct. 1983), 17.
After describing the elements of the "ghazal," Beardsley notes that "Webb's approach is to take the reader on a psychic journey through the imaginative process that culminates in Sunday Water." During this journey, readers experience the creation of the poems they are reading. The book "runs deep with resonances; indeed the reader has the feeling that the language has chosen the poet to speak through." Upon re-reading, what emerges is the "free play of the poet's mind" and "the careful, concise ordering of contrast and form" in these poems.
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Source: Frey, Cecelia (compiler); . Part 2: Works On Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 419-446 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP2.
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Record: 497- Title:
- Part 2 Works On Phyllis Webb; Selected book reviews; Talking
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- Part 2 Works On Phyllis Webb; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Criticism & interpretation -- Bibliography
Titles critiqued: TALKING (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 2: Works On Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 419-446)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
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Part 2 Works On Phyllis Webb; Selected book reviews; Talking
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D65 Adachi, Ken. "His Playful Wit Enlivens Frye's Swirling Ideas." Rev. of Divisions on a Ground: Essays on Canadian Culture, by Northrop Frye; and Talking, by Phyllis Webb. The Toronto Star, 26 June 1982, p. F10.
Out of a long review piece on Northrop Frye's Divisions on a Ground: Essays on Canadian Culture, Adachi devotes two paragraphs at the end to Webb. Talking is "an odd, miscellaneous rag-bag of discussion on the poetic process and book reviews aired on CBC radio." The critical pieces are disparate and Webb only "just" manages "to impose a degree of unity." Her reviews are forceful and perceptive, but the book is "too ephemeral."
D66 Morley, Patricia. "Poet-Critic Proves to Be Master of the Essay." The Citizen [Ottawa], 31 July 1982, Sec. Entertainment, p. 34.
"Webb brings a cultivated sensibility and something of her own concerns to this scholarly work. Her reviews are personal and philosophic, in the best senses." Morley discusses the contents, notes that the excerpts of correspondence between Wilson Duff and Lilo Berliner, along with Webb's commentary, "read like an avant-garde novel." The book is "perceptive and illuminating, without being academic"; the essays on poetry "are among Webb's best"; she is "polished, witty, sometimes profound."
D67 Scobie, Stephen. "Voice of the Mind." Victoria's Magazine [Monday], 30 July-5 Aug. 1982, pp. 15-16.
Webb's "luminous intelligence" is forefronted in this collection. While the reviews are fascinating, they are limited by the length restrictions of the originals written as radio scripts, and this collection of essays, reviews, and radio talks is strongest in the longer pieces. "For students and lovers of poetry, the most interesting sections will be Webb's reflections on her own work and craft.... Her sensitive account of the correspondence between Wilson Duff and Lilo Berliner is essential reading, not only for its own sake, but also as background to Webb's major work, Wilson's Bowl."
D68 Scobie, Stephen. "The Single Hook." Books in Canada, Nov. 1982, pp. 23-24.
Scobie praises Webb's poetic profundity, depth, delicacy and accuracy of her rhythms, "the beauty and mysterious resonance of her images, and...her luminous intelligence." Her prose is "concise, aphoristic, and penetrating, and the range of her subject matter is wide and challenging." Some of her reviews are both historically and currently interesting. The more extended pieces are the strongest. Scobie outlines the content of a number of essays, discusses the complementary relationship between some of these prose pieces and some of Webb's poetry.
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Source: Frey, Cecelia (compiler); . Part 2: Works On Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 419-446 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP2.
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Record: 498- Title:
- Part 2 Works On Phyllis Webb; Selected book reviews; The Sea Is Also a Garden
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- Part 2 Works On Phyllis Webb; Selected book reviews
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- Frey, Cecelia (compiler)
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- Bibliography
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- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Criticism & interpretation -- Bibliography
Titles critiqued: SEA is also a garden (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 2: Works On Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 419-446)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP2
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Source: Part 2: Works On Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 419-446
Part 2 Works On Phyllis Webb; Selected book reviews; The Sea Is Also a Garden
Frey, Cecelia (compiler)
D6 Matthews (sic), R. D. "In Sonnets Pretty Rooms." The Canadian Forum, Dec. 1962, pp. 207-08.
This collection establishes Webb as a poet sure of her craft, a poet of "peculiar vision." However, the book is marred because some of the poems are of secondary intensity. Wit, her "strength and her weakness," is central to her poetry. At best she communicates it along with "sophistication and pain glossed over or controlled." At her worst her wit is cold. She is one of Canada's better poets "but no more, so far."
D7 Cogswell, Fred. "Good but Not Great." Rev. of Poems, by Alan Dugan; The Plink Savoir, by Robin Mathews; Image of Life, by Charles Shaw; and The Sea Is Also a Garden, by Phyllis Webb. The Fiddlehead, No. 55 (Winter 1963), p. 68.
This book is a "gain in technical ability and unity of vision." Webb has a complex and subtle technique. She deals intensely with her subject matter, the problem of "upon what to found a life in a cynical universe." While she sees life whole, she "does not see it steady enough." Cogswell refuses to enter her "solipsist's world."
D8 Kearns, Lionel. Rev. of The Sea Is Also a Garden. British Columbia Library Quarterly, 26, No. 3 (Jan. 1963), 32-34.
These poems are Existential, the "testimony of a human being who can endure the anguish of existence and go on to find the experience valuable." For Webb love is an "affirmative power." The force of the poems stems from "authenticity of statement" and "extremely fine craftsmanship." The music of her poems is sensuous, delightful, appropriate; the imagery is effective. The poems complement each other, which unifies the collection.
D9 Sonthoff, H. W. "Music Was Made, Arises Now." Canadian Literature, No. 15 (Winter 1963), pp. 81-82.
Although Webb's work has balance, range, and control, these are secondary to the fact that she lets us reach "further into human experience than we ourselves could reach." The poems have "order and counterpoise." "One poem may seem to comment on another," yet each is allowed to be absolute and intense. The poems "work together"; some, such as "Breaking" and "Making," are matched, some, such as "Occasions of Desire" and "A Pardon to My Bones," are grouped. The views in the poems do not "modify each other." Rather, they "coexist."
D10 Dudek, Louis. "A Load of New Books: Smith, Webb, Miller/Souster, Purdy, Nowlan." Delta [Montreal], No. 20 (Feb. 1963), p. 28. Rpt. in Selected Essays and Criticism. By Louis Dudek. Ottawa: Tecumseh, 1978, p. 169.
Webb is briefly mentioned in the total review. This is a great advance on Webb's earlier work. Her poems are about agony and crucifixion. They record pain, yet resolve on life.
D11 Howith, Harry. "Five Poets [Peter Miller, Alden Nowlan, Alfred Purdy, A. J. M. Smith, Phyllis Webb]." Canadian Author & Bookman, 38, No. 3 (Spring 1963), 9.
Webb is not satisfying. She is a "cerebral poet" who suppresses "immediate emotional response in favour of a search for symbolic, for mythopoeic patterns."
D12 McCarthy, Bryan. "A Handsome Lass." Evidence, No. 7 (Spring 1963), pp. 98-101.
The poems are obscure nonsense. The poetry is not about anything. "Grey Day" is discussed at some length. It "lacks a subject," and "...there is no emotional commitment."
D13 Jones, Ben. "Eight Poets." Rev. of The Sea Is Also a Garden, by Phyllis Webb; The Plink Savoir, by Robin Mathews; and Five New Brunswick Poets: A Fiddlehead Book. Alphabet, No. 6 (June 1963), pp. 68-69.
Webb's latest collection is superior, containing "statements of a poet who has found a language, a strong and individual voice." Her themes are isolation, loneliness, hostility of world, and beauty of world.
D14 Wilson, Milton. "Letters in Canada: 1962. Poetry." University of Toronto Quarterly, 32 (July 1963), 382-84.
Webb is a civilized poet who writes intense poetry. Her art is not stable or conclusive, and she makes a strenuous demand on her material. Her imagery is the same as she has used previously, is "insistent." However, the patterns into which she shapes her images have changed, are "independent," and each poem is different from the others. Wilson gives special mention and praise to "'The Time of Man.'"
D15 Skelton, Robin. "Canadian Poetry." The Tamarack Review, No. 29 (Autumn 1963), pp. 76-77.
In her latest collection Webb is more mature and exciting. She has masterful control of "the shift of language from abstraction to image" and is able to control the movement of her poems. She has a good ear. Often, though, she ends with a "too conclusive apothegm."
D16 McRobbie, Kenneth. "Canadian Chronicle." Poetry [Chicago], 103 (Jan. 1964), 270.
Webb's poetry has "distracting archaisms" and "a seductive sea-like surge of sound."
D17 Bates, Ronald G. N. Rev. of Gull's Wave, by Sanford Steinlicht; Countermoves, by Charles Edward Eaton; and The Sea Is Also a Garden, by Phyllis Webb. The Dalhousie Review, 44 (Spring 1964), 116-17.
These are real poems, good poems. Webb has an ear for sound, rhythm, meaning. Her subjects are life, love, death, and poetry itself.
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Source: Frey, Cecelia (compiler); . Part 2: Works On Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 419-446 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP2.
Item Number: ABCMA06PWP2000006006004003
Record: 499- Title:
- Part 2 Works On Phyllis Webb; Selected book reviews; Trio: First Poems by Gael Turbull, Phyllis Webb, E.W. Mandel
- Other Title:
- Part 2 Works On Phyllis Webb; Selected book reviews
- Record Type:
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- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Criticism & interpretation -- Bibliography
Titles critiqued: TRIO: First poems by Gael Turbull, Phyllis Webb, E.W. Mandel. (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 2: Works On Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 419-446)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
Book Control ID: ABCMA06PWP2
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Source: Part 2: Works On Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 419-446
Part 2 Works On Phyllis Webb; Selected book reviews; Trio: First Poems by Gael Turbull, Phyllis Webb, E.W. Mandel
Frey, Cecelia (compiler)
D1 Wilson, Milton. "Turning New Leaves." Rev. of A Sort of Ecstasy, by A. J. M. Smith; and Trio: First Poems by Gael Turnbull, Phyllis Webb, and E. W. Mandel, by Gael Turnbull, Phyllis Webb, and E. W. Mandel. The Canadian Forum, Feb. 1955, p. 259.
Webb's poetry is "astringent" and "angular." Some poems are successful, but many are bad because of too many "smart images" or "philosophic profundities." She is unpredictable, lacks control, and her best poems are achieved through luck.
D2 Frye, Northrop. "Letters in Canada: 1954. Poetry." University of Toronto Quarterly, 24 (April 1955), 254-55. Rpt. in The Bush Garden: Essays on the Canadian Imagination. By Northrop Frye. Toronto: House of Anansi, 1971, pp. 42-43.
This new generation of poets assumes as elementary such things as the city, political malaise, and existential dread. Webb has not separated the "process of writing a poem from the process of finding a poetic subject and writing it up." She uses literary allusion as a defense against emotion. Although she is "uncertain in direction," she has "variety of tone and technique."
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Source: Frey, Cecelia (compiler); . Part 2: Works On Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 419-446 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP2.
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Record: 500- Title:
- Part 2 Works On Phyllis Webb; Selected book reviews; Wilson's Bowl
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- Part 2 Works On Phyllis Webb; Selected book reviews
- Record Type:
- Reference Series
- Series Title:
- Annotated bibliography of Canada's major authors, no. 6
- Author(s):
- Frey, Cecelia (compiler)
- Genre(s):
- Bibliography
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- Authors discussed: WEBB, Phyllis; WEBB, Phyllis -- Criticism & interpretation -- Bibliography
Titles critiqued: WILSON'S bowl (Book)
Topics: CANADIAN literature -- Bibliography; FRENCH-CANADIAN literature -- Bibliography - Book Source:
- Frey, Cecelia (compiler) Part 2: Works On Phyllis Webb.
Publisher Information: Toronto, Ontario : ECW Press, 1985. (pp. 419-446)
ISBN: 0920802931 (hardcover); 0920802958 (paperback)
Series Data: Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6
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Source: Part 2: Works On Phyllis Webb. Frey, Cecelia (compiler); Toronto, Ontario : ECW Press, 1985, pp. 419-446
Part 2 Works On Phyllis Webb; Selected book reviews; Wilson's Bowl
Frey, Cecelia (compiler)
D37 Barbour, Doug. "Major Poet, Major Work." The Edmonton Journal, 24 Jan. 1981, p. C4.
This book confirms the status of Phyllis Webb as "one of the finest poets now writing in English." Webb's craft is sure and she is able to work with a variety of forms. While her vision is dark, "her poems are full of light." She speaks of suffering but also celebrates "the human ability to survive." She has wit, rhythmic control, and a "scintillating lyric craft." "Though their intellectual power is great, the immediacy of these poems is visceral, emotional, perceptual."
D38 Lemire-Tostevin, Lola. Rev. of Wilson's Bowl. NeWest Review, March 1981, p. 15.
Webb has an "extraordinary sense of language and imagery" as well as imagination, a profound intellect, and sophistication of technique. "Images of emptiness, distance, journeys abound throughout the first half" of the book. Suicide still plays a large part in Webb's poetry, but "she finally realizes [it] leads 'Nowhere.'" While she continues to ask questions that have always frustrated her, Webb comes to the realization that there are no specific or obvious answers. Through this realization, "...the book emerges into some of the finest poetry" the reviewer has read "in a long while."
D39 Albers, Sandra. "Canadian Authors Speak Loud, Clear." Rev. of Going for Coffee, ed. Tom Wayman; For Openers: Conversations with Twenty-Four Canadian Writers, by Alan Twigg; Fiction of Contemporary Canada, ed. George Bowering; and Wilson's Bowl, by Phyllis Webb. The Kamloops News, 6 March 1981, pp. TW13.
Some of Webb's literary and mythological references could make this a difficult book for the "average" reader. The poet expects readers to work at the poems. At the same time she does reach out through the poems to the reader. While many of the poems are of "woman's particular pain," they are not what is known as "women's poems." The main theme in this book is "communion with the dead to arrive at an understanding of the living."
D40 Garebian, Keith. "Poetic Journeys in Search of the Man Within." Rev. of The Stone Bird, by Al Purdy; and Wilson's Bowl, by Phyllis Webb. The Gazette [Montreal], 14 March 1981, p. 122.
In these poems Webb "struggles with silence, pain and weakness in order to express intellectual life, heart and imagination." The preoccupation here "appears to be with frustration." She "writes in fragments" and fits the pieces together. The tone is tenuous, self-critical; the style is not easeful.
D41 Barbour, Douglas. "Here Are Riches You Can't Miss." The Toronto Star, 21 March 1981, p. F11.
"With this book Webb takes her rightful place as one of the finest poets now writing in English." She is at ease with a variety of forms, and she is a careful listener for the precise word. The poems in the last section strike a visceral and emotional immediacy rather than an intellectual one. "Wilson's Bowl is a major statement from a major poet."
D42 Barton, John. "Victims, Saints, and Angels." Rev. of True Stories, by Margaret Atwood; Wilson's Bowl, by Phyllis Webb; and A Game of Angels, by Anne Szumigalski. From an Island [Univ. of Victoria], 13, No. 1 (Spring 1981), 84-88.
Wilson's Bowl is a book of "apparent fragments." However, these fragments, which are parts of ourselves, are given coherence by our search for identity. A sense of identity and of this coherence emerge in the final poems. "Solitary Confinement" is "the most telling poem in the book," because its "profound sense of isolation" is the heart of Wilson's Bowl. Barton looks at "Ezra Pound" to provide a key as to why spiritual isolation occurs and why, once entered, it is "often so completely inescapable." The poem "Wilson's Bowl" is an analysis of this isolation. The book ends, however, in acceptance rather than defeat. This acceptance is passionate, "akin to the saints'...acceptance of suffering as the path to enlightenment."
D43 Stevens, Peter. Rev. of Wilson's Bowl. The Windsor Star, 21 March 1981, p. E7.
This is "strongly refined and crystal-clear poetry," focusing on both the pain and the splendour of the human condition. It tackles immense themes, but is also permeated with the poet's immediate concerns. This gives the work a unique tone, "a largeness of spirit probing the essence of its own humanity." Webb examines the world with clarity, concentrating "on the imprisoned existence of man grappling with his confinement." She is a careful writer searching for a "fine-honed language." These poems are successful and make "radically impressive statements."
D44 Abley, Mark. "Bitter Wisdom of Moral Concern: Atwood, Purdy and Layton Offer Tough Poetry for Hard Times." Rev. of True Stories, by Margaret Atwood; The Stone Bird, by Al Purdy; Europe and Other Bad News, by Irving Layton; Wilson's Bowl, by Phyllis Webb; and The Measure, by Patrick Lane. Maclean's, 30 March 1981, p. 53.
Webb is a "scrupulous, original craftsman," a "perfectionist." These poems have "an austere, even wild intensity." Her finest work combines a tone of anguish and serenity.
D45 Macfarlane, David. "From a Far-Off Shore." Books in Canada, May 1981, pp. 34-35.
Webb cannot be classified with any group of poets. The poems in this collection reflect the loneliness and importance of island existence. "A sense of distance and isolation pervades the book," as does an element of "awesome self-absorption." "Everything is filtered through Webb's quiet, observant, sometimes tortured self." At the same time, the poems in the section "Portraits" are not mere reflections of the poet. They are convincing portrayals with that element of mystery that pervades all of Webb's work, even the poems of "everyday moments."
D46 Wilson, Jean. "'Screems Should Be Heard and Not Seen.'" Rev. of True Stories, by Margaret Atwood; and Wilson's Bowl, by Phyllis Webb. Broadside [Toronto], May 1981, p. 14.
Webb's "poetry is more introspective, allusive and elusive, preoccupied with personal 'failure' and intellectual literary cross-references" than Atwood's. "There is a kind of crescendo of intoxication with the language and images in this book that develops as it progresses. One has the sense that Webb fights incessantly and at great spiritual cost against even having to use language in the first place and then with making it express precisely what she wants it to." Although the poetry "starts from concrete images and incidents and touches on themes and characters in the world at large, it is concerned primarily with Phyllis Webb's own interior monologue and her struggles with silence and the 'strange gestation' her poetry requires." Webb's "interesting apologia for the dominance" of male heroes in the book suggests that Webb "is unlikely to allow that influence to continue or be so unduly reflected in any subsequent poetry she might publish." Webb "has a marvelous wry humour" and the Coach House book is "physically attractive."
D47 Pike, David. "Three Canadian Poets Celebrate Life and Language." Rev. of Europe and Other Bad News, by Irving Layton; Wilson's Bowl, by Phyllis Webb; and The Stone Bird, by Al Purdy. The Calgary Herald, 6 June 1981, p. F16.
The poetry in this collection can not only withstand more than one reading, but "will get better and better under closer scrutiny" and "will establish itself as an enduring work of art." It "tests the limits of language and trusts its readers with discovering its less than obvious unities."
D48 Dudek, Louis. "Always Phenomenal/Epiphenomenal." The Canadian Forum, Aug. 1981, pp. 29-30.
Dudek outlines some of Webb's past work to indicate Webb's wide range of knowledge and her "intellectuality." However, Webb's poetry generally shows "little fulfilment and little coherent philosophy." The poetry "comes out of a state of anguish and fragmentation," similar to, but not quite, "confessional poetry." Dudek does praise "Spring Thing" for its impersonal objectification and notes "Such poetry is worth the struggle. It is not the theory of anarchy, which is a piece of raging folly in her poetry, nor the suicidal notes, nor the ambitious Kropotkin sequence, nor the philosophical despair, which makes this poetry significant, but the stoical tone, the laconic precision, the rhythmic snap and assurance that remain in the mind...."
D49 Hurwitz, Anita. "Liberating the Soul." Waves, 10, Nos. 1-2 (Summer-Fall 1981), 125-26.
Wilson's Bowl is divided into five sections, "Preface," "Portraits," "Crimes," "Artifacts," and "Dreams and the Common Good," with thematic concerns of death, judgement, hope within travesty, hell, and spring. The poems contain questions but few answers, and "insight takes precedence over resolution." The collection "grows in artistic clarity as it passes through its five themes, from the most abstruse to the almost tangible, achieving its real beauty at the end."
D50 Kamboureli, Smaro. "Poetics of Failure in Wilson's Bowl." Island [Lantzville, B.C.], No. 10 (Fall 1981), pp. 84-88.
Wilson's Bowl is a "dialectics...between Webb as a poet writing and as a poet fighting (enhancing) silence." The resulting tension takes the form of an "ambivalent celebration...of the poet's defeat by and victory over writing." Kamboureli discusses Webb's relationship to writing referring to the Foreword of this collection and to the poet's quoting of Roland Barthes. The act of violence in Barthes's and Webb's statements "is performed not by writing but by the writer's position toward writing," an aggressive, selfprotective position "against an enemy that has to be defeated and subsequently endorsed." In "Poems of Failure," "...the violence of writing changes the subject of its attack; it does not threaten the poet; it scares away the subject of the poem." The figures in the "Portraits" are "contained within the form she [Webb] gives them" because of the "perspective from which she approaches them," that is, the perspective of occasional poems. "Crimes" are "poems that trace the web of violence," the ultimate role of which "is to measure the transgression of the poet's limits as she confronts life and art.... Yet this violence is constantly undercut by the desire to heal and create." "Wilson's Bowl" "invites us to enter a place...where myth is real." In "Dreams and the Common Good" "...we are transported [to]...the dreamworld where Webb deals with the ontology of our paradoxes." The "poetics of failure in Wilson's Bowl...announces the death of pure silence and the return of voice from the recesses of the throat to the page."
D51 Keith, W. J. "Struggles with Silence." Canadian Literature, No. 91 (Winter 1981), pp. 99-102.
Wilson's Bowl maintains unity while manifesting a variety of subject matter, tone, and stanza-form. Webb does not succumb to bare intellectualism or emotionalism. She creates through suffering. "The tension between the lucidity of her tone and the desperation of the consciousness behind it is perhaps the most remarkable quality of her poetry." This desperation is made into art by her concentration on sounds of words, rhythms, and structures. Some of the poems, such as "Rilke," become more meaningful through their place in the collection. Webb's long apprenticeship, "the product of an extended struggle with words and meanings and...silence," finds supreme expression in "The Day of the Unicorns," an "evocation of all that is lost with the passing of time, together with a realization of the necessity of such loss."
D52 Mandel, Ann. Rev. of True Stories, by Margaret Atwood; and Wilson's Bowl, by Phyllis Webb. The Fiddlehead, No. 131 (Jan. 1982), pp. 63-70.
Webb's book is about "the intricate confounding of life and death." The poet utilizes "words, visions, and silences of the dead" to make her poems. Images of sea and tides, earth and new growth lend an "elemental, seasonal" quality to the book. Webb insists on the necessity of the struggle of "the inadequacy of language to deal with the material world." In these poems, questions of truth, power, suffering, and torture are explored. In "Portraits" Webb deals with men of "vast vision" beside which her own vision fails, yet finally she refuses "the intercession of these 'guides.'" The book's central question, that of death, is dealt with through the suicide of a friend. "One feels always in Webb's poetry the urge of the metaphysical, an anguish attached to the chaos and materiality of life, and an acute longing for the purity of an absolute."
D53 Djwa, Sandra. "Letters in Canada: 1981. Poetry." University of Toronto Quarterly, 51 (Summer 1982), 352-53.
This "is a series of linked poems on life, death, and their relationship to art.... Webb has an exceptionally wide range of style and tone: from the densely allusive...to...sheer lyricism," to "supple and witty" works. "Poems of Failure" "are confessional poems in the mode of Lowell and Plath, vulnerable in their self-exposure and seeking balance through consciousness of the powerful figures...which function as male muse....Yet such mentors are ultimately unsatisfactory.... The resolution of these 'Poems of Failure,' especially the poet's integration with nature, prefigures the Zen Buddhism of the later poems....Atwood becomes a kind of muse as Webb determines to abandon the old assumptions of victim and failure.... Webb has worked to lyrical affirmation."
D54 Whiteman, Bruce. "A New Webb." CV/II, 6, No. 4 (Aug. 1982), 16.
"The silence that engulfed her [Webb] at the end of Naked Poems, whether projected as death or the end of love, is a metaphor for the limitations of personality, language as control-centre. The poems in Wilson's Bowl move out of that silence and into the declamations of history, of myth, of dream, of friendship. There is in them a fullness and a variety that marks a real change of direction from her previous writing, though the recognizable concerns of the Selected Poems are still in evidence--silence, failure, death, the difficulty of speech." Wilson's Bowl "is in large part a meditation on figures and objects of the past...with the elucidation of the present always of prime concern.... Meditation, she says, is 'cold rapture,' and rapture...is a seizing from without, or a training of the mind to allow response in an uncontrolled (but not undirected) way.... The dialect of these poems (life / death, speech / silence) is stilled by the figures who inhabit them, the dead who, paradoxically, speak to us." The "dream elements" are "the weakest" in this "fine book."
D55 Barbour, Douglas. "Canadian Poetry Chronicle XI, Part 2." West Coast Review [Simon Fraser Univ.], 17, No. 2 (Oct. 1982), 44-45.
With Wilson's Bowl, Webb "takes her rightful place as one of the finest poets now writing in English.... Webb moves easily among a variety of forms, always listening for the precise words." Her poems are "complex," "visceral and emotional."
D56 Watson, Wilfred. "re Phyllis Webb & Wilson's Bowl." Island [Lantzville, B.C.], No. II ([Winter] 1982), p. 58.
A poem-review which picks up some of the major themes and perspectives of Wilson's Bowl.
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Source: Frey, Cecelia (compiler); . Part 2: Works On Phyllis Webb, Toronto, Ontario : ECW Press, 1985. pp. 419-446 ; Lecker, Robert (editor). David, Jack (editor). Annotated bibliography of Canada's major authors ; no. 6 ISBN: 0920802931 (hardcover); 0920802958 (paperback), Book ID: ABCMA06PWP2.
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